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THE ART OF MEMORY 






'Our memories are gentle waves, that £o-w 
Against the shore-line of the Long Ago; 
A dim land, stretching ^neath a dimmer sky, 
Where past events, like ships at anchor, lie.^^ 

— Wm. H. Hayne. 



THE 



Art of Memory 



BEING A 



Comprehensive and Practical System 
OF Memory Culture 



BY 



Henry H. Fuller 



*Si quid novisti rectius istis, candidus imperii; 

si non, his utere mecum.'* 

— Horace 



ST. PAUL, MINN. 
National Publishing CoMPi 
1898 



\ 




y. TWO buriu RECEIVED. 



^ '^'i n ^j 



^^ 






H007 



Copyright, 1898, 

BY 
HENRY H. FULLER. 



Printed, Eleotrotyped and Bound 
by the 

ptoneev Press <!Iioinpatt)f» 

St. Paul, Minn. 



Zo 



MY FIRST FRIEND AND BEST— EVER ZEALOUS FOR, 

FAITHFUL. AND KIND TO ME— 

TO MY NEAREST AND DEAREST— EVER LOVING, 

TENDER AND HELPFUL TO ME— 

TO ONE WHO, IN HER PURE NATURE AND 

UNSELFISH LIFE, HAS EVER BEEN A 

BLESSING TO THOSE AROUND HER— 



flDi? flDotber, 



TO HER IN TOKEN OF MY APPRECIATION OF HER, 

MY AFFECTION FOR HER, AND MY GRATITUDE 

FOR ALL THAT SHE HAS BEEN TO ME 

THROUGH THE YEARS OF MY LIFE, 

I DEDICATE THIS BOOK. 



I 



CONTENTS 



CHAPTEK I 
The Blessings of Memory a 

CHAPTER II 
What Memory Is la 

CHAPTER III 
Marvels of Memory 32 

CHAPTER IV 
Mnemonics, Past ai .j Present - - - - 58 

CHAPTER V 
Attention « . 93 

CHAPTER VI 
Association - , - 109 

(vii) 



Vlll CONTENTS. 

CHAPTEE VII 
€lassifioation of Memory 134 

CHAPTEE VIII 
Locality - ' - 144 

CHAPTEE IX 
PoKM— Color - - - - - - - 168 

CHAPTEE X 
Figures - 180 

CHAPTEE XI 
Historical Dates 201 

CHAPTEE XII 
Events — Facts - - 289 

CHAPTEE XIII 
Literature — Drama — Discourse . - » - 300 

CHAPTEE XIV 
Anecdote 317 



CONTENTS. IX 

CHAPTER XV 
Diction 349 

CHAPTER XYI 

PBOPER l^AMES i - . 383 

CHAPTER XVII 
Music 410 

CHAPTER XVIII 

Vagaries of Memory - - - - - - 446 

1 



'^eipotnttt!^ <&aUi0p^ 

(Bntevpie Urania 

®Jtalia &vat0 



CHAPTER I. 



THE BLESSINGS OF MEMORY. 



"A mau's real possession is his memory; in nothing else is he 

rich, in nothing else is he poor." 

Alexander Smith. 

"Memory is the only Paradise from which we cannot be driven 
away." 

RiCHTER. 

"Grant but memory to us and we can lose nothing by death." 

Whittier. 

"The heart hath its own memory, like the mind." 

Longfellow. 

"Memory tempers prosperity, mitigates adversity, controls youth, 

and delights old age." 

Lactantius. 

"I would rather have a perfect recollection of all I have thought 

and felt in a day or a week of high activity than read all the books 

that have been published in a century." 

Emerson. 

"Hail, Memory, hail! in thy exhaustless mine 

From age to age unnumbered treasures shine! 

Thought and her shadowy brood thy call obey. 

And place and time are subject to thy sway!" 

Rogers. 
(3) 



THE ART OF MEMORY. 

"Bliss in possession will not last; 
Remembered joys are never past; 
At once the fountain, stream, and sea, 
They were, they are, they yet shall be." 

James Montgomeby. 

"When Time, which steals our years away. 

Shall steal our pleasures, too; 

The memory of the past will stay, 

And half our joy renew." 

Thomas Moobe. 



In every age of civilized life, reaching from the mo- 
mentous present back through the teeming centuries 
to that far-off day when the first gray gleams of His- 
tory broke forth over the mighty ocean of Time, Mne- 
mosyne, the Goddess of Memory, has been accorded a 
most exalted altar in the temple of human progress, — 
that intellectual fane wherein man has sought to pro- 
pitiate the powers of the understanding, and on whose 
walls is inscribed the story of his work, — a temple 
whose foundations are upheld by her, as Atlas was 
fabled to uphold the heavens. As in Grecian mythol- 
ogy, Mnemosyne was honored as the mother of the nine 
Muses, so, too, throughout all the ages Memory has 
been universally recognized by civilized mankind as a 
vital factor in the intellectual development of the hu- 
man race; and now at the close of this nineteenth cen- 
tury, the inestimable value to its possessor, of a well 
trained memory is more justly appreciated than per- 
haps has ever before occurred in the world's history — 



THE BLESSINGS OF MEMORY. 5 

to such vast proportions has the field of knowledge ex- 
panded, and so exacting have thus become the demands 
upon the memory of whomsoever would gain and main- 
tain a more than mediocre station in the world of in- 
tellect. 

To him who can truly realize its intrinsic worth, a 
superior memory cannot but be prized as one of the 
most priceless blessings a bountiful Providence can be- 
stow. Without Memory, progress in any form or de- 
gree whatsoever, would be unknown; by it is man's 
knowledge measured and in a great degree his happi- 
ness, — for, next to the joys of Anticipation, those of 
Memory form the most satisfying and enduring that 
are enshrined within the heart of man. By a beneficent 
mental alchemy, whose process is one of the mysteries 
of our nature, the asperities of life become gradually 
softened in the memory with the flight of years, — ex- 
periences whose contemplation at the time may have 
been not only unpleasant, but even painful, being ulti- 
mately transmuted into subjects of not unhappy retro- 
spect. The faults and follies, and even vices, of those 
whom we once knew grow more and more palliated in 
the memory with the passing years. And persons 
whom we deem to have injured us, and for whom we 
formerly could entertain only feelings of dislike, and 
even hatred it may be, we come to think of in a spirit 
of tolerance, and perchance even kindness ; such is the 
soothing influence of Time on the passions. And ex- 
periences which once cast a happy glow on the pathway 
of life become endowed with an ever-growing radiance 



6 THE ART OF MEMORY. 

as the years pass by. Why all this is so we know not; 
we only know that it must be one of the happy com- 
pensations of life bestowed by a Divine Providence. 
Impressions of the past are not preserved in the memo- 
ry with unvarying impartiality — however logical may 
seem the conclusion that they should be; and that 
there exists this curious quality in the operation of the 
mental forces is one of the fortunate attributes of hu- 
man nature. As in fancy we look back through the 
vista of years, our happy experiences are viewed from 
the small end of the telescope as it were, and our un- 
happy ones as from the opposite end. The tendency 
of the memory is to efface by degrees the unwelcome 
details of past experiences, retaining only those fea- 
tures which have shed a happy and inspiring influence 
on the mind and senses, and investing those features 
with an added beauty and brightness as they recede yet 
further and further into the great unmeasured Past. 

The possessor of a retentive memory may indeed 
felicitate himself that within him is a fount of perennial 
purity and beauty, whose gushing waters cannot but 
invigorate and delight his spirit as he wends his steps 
along the devious pathway of this strange life, amid its 
lustrous lights and sombre shadows, now climbing the 
majestic steeps and anon descending to the gentle 
slopes and smiling valleys, — a fountain which has gath- 
ered impulse from the capacious reservoir of youthful 
incident, augumented by the plenteous streams of 
knowledge and experience afforded by the after-scenes 
of life. And when at last the evening comes, and those 



THE BLESSINGS OF MEMORY. 7 

activities that occupied the body and the mind in days 
gone by, no longer now engage the passing hours, — 
then Memory indeed may exercise its noblest, its most 
grateful mission. And if, perchance, it has been stored 
from time to time with glowing thoughts and fancies 
from the heart and mind of genius; with grains of wis- 
dom from the brain of scholar or philosopher; with 
gems of grace and grandeur from the lips of eloquence 
or the pen of poet; with unfading images of beauty 
from the world of Art; then can its possessor revel in the 
w^ealth of thought and sentiment and imagery which 
the passing years have stored away, and Memory be- 
comes indeed a source of untold happiness, — a sweet 
and ample compensation for the sacrifices and the toils 
of other years, — a blessed and abiding solace in the 
*^sear and yellow leaf," the even-tide of life, that period 
when, perchance, those energies once boasted by the 
heart and mind are known to them no more; when in 
what is or what may he is found, perchance, but little 
inspiration, but when the mind must occupy the passing 
hours in rumination over what has been and in summon- 
ing before the mental vision faces and forms and scenes 
and thoughts belonging to departed years. Then the 
heart must find its earthly joys in Memory, seldom in 
any earthly hope. 

And if the treasures of a well-stoi^ed memory may 
yield so much of gladness to the mind and heart in this 
the autumn of life's days, what shall be said anent the 
springtime and the summer, — the period when this 
precious fund is being garnered in the memory? 



8 THE ART OF MEMORY. 

Then to the joys of recollection is united the delight of 
acquisition. Then the wonders and felicities of Knowl- 
edge and of Fancy burst upon the mental vision with 
their all-pervading charm of freshness and of beauty^ 
and with their more exalted blessing of bearing the 
most precious germ of intellectual and of moral growth. 
But besides the mental delights which are gained 
throughout life by the possession of a well cultivated 
memory, there are also the practical benefits to be de- 
rived thereby. 

The man who, whether by the munificence of Nat- 
ure, or through assiduous and intelligent cultivation, 
has acquired a teeming and a ready memory may well 
congratulate himself that a treasure is his which de- 
serves to be prized far more than any possession whose 
value can be measured by the material and evanescent 
riches of this world. As the trained athlete, conscious 
of his surpassing strength and skill, is seldom reluctant 
to essay any proper task, however arduous, whose ac- 
complishment is within the bounds of possibility, so the 
possessor of a carefully trained memory may well be 
justified in feeling no loss of confidence in his mental 
powers. Should he chance to cast his lot in the field 
of oratory or statesmanship, and an issue arise to be 
decided by oral argument, he is morally certain to be 
fully fortified at every point, whether of logic, fact, 
figure or date; and if the issue be with the pen, he is 
none the less prepared for the encounter, and can bring^ 
forth at will from the arsenal of his memory the weap- 
ons of logic, of citation and of satire which shall dis- 



I Ml 



THE BLESSINGS OF MEMORY. 9 

cover every vulnerable spot in his antagonist's armor. 
And the historian, the essayist or the descriptive writer 
is indeed vastly strengthened if he possess a ready 
memory; for in such case, no less than those already 
indicated, the knowledge gained and impressions 
formed through experience, observation and research 
cannot but prove an added force of inestimable value, 
ready to be put forth as occasion may require. 

The most prosperous business man (other qualifica- 
tions being equal) is he who has a superior memory for 
names and faces. In the case of him who would be a 
successful politician, the possession of this faculty is 
absolutely indispensable, reliance being placed, as is 
abundantly justified, on the weakness of human vanity.. 
Eminence in some professions necessitates a copious 
memory of mathematical formulae; and in all lines of 
scientific and professional attainment a tenacious mem- 
ory of words is, if not indispensable, at least most ad- 
vantageous. 

That man is justly considered a most desirable ac- 
quisition to the social circle who is reasonably well- 
informed on historical and current events; who can tell 
the main details of a story he has read, a discourse that 
he has heard, or a play which he has witnessed; who 
can illustrate a topic under discussion by an apt anec- 
dote ; and who, perchance, has a lavish fund of literary 
illustrations at his tongue's end, or possesses entertain- 
ing qualities from a musical point of view. Such a 
person cannot well fail to prove a valued ornament to 
society, an ever welcome guest at many a hearthstone; 



10 THE ART OF MEMORY. 

and the real secret of it all is that he possesses a well 
stored memory, whose riches are ever a source of un- 
told satisfaction to himself as well as a delight to those 
with whom he associates. 

And the memory of childhood's days: 

"When life seemed formed of sunny years, 
And all the heart then knew of pain 
Was wept awiay in transient tears." 

What, indeed, shall we say of that peculiar senti- 
ment which surrounds the far-off morn of life and 
weaves about it a web of romance which grows more 
and more fascinating as years pass on? Who that is 
not most lamentably lacking in that exalted grace of 
the soul, sensibility, does not cherish with never ceas- 
ing fondness the recollections of his boyhood's days? 
Who does not dwell with unalloyed rapture on those 
experiences of life's springtime that form so impressive 
a contrast with the cares and trials that beset the path 
of manhood's years! — how boldly are those scenes and 
incidents defined upon the mental vision! — in what, 
glowing colors are they depicted! Commonplace in- 
deed many of those experiences were, scarce worthy to 
be the subject of retrospect in the years to come, it may 
be; but yet how tenaciously do these episodes of the 
long ago cling to the memorj^, — their luster scarce ob- 
scured by the lapse of intervening j^ears! Some holi- 
day jaunt, some moonlight excursion, or some May-day 
frolic, imprints itself upon the memory in colors so re- 
fulgent as to seem insensible to the relentless touch of 
Time; and often some of the most trivial incidents and 



THE BLESSINGS OF MEMORY. 11 

prosaic experiences are better remembered, by far, than 
man}^ important events of later years. We cannot live 
those days over again, it is true, but memory can revive 
their scenes and picture their details so vividly that it 
almost seems as if we again were gazing on the same 
delightful landscapes, treacling the well-w^orn paths 
that knew our footsteps in those by-gone da^ s, and look- 
ing on the same familiar faces as in the halcyon times 
of yore. And sometimes in the after years of life, w^hile 
musing on those days gone by, how^ sw^eetly bursts upon 
the mental vision some long-forgotten scene, blooming 
forth in the most transcendent beauty! May not such 
a memory be likened to a gushing spring, whose limpid 
waters have escaped from some sly nook of Nature, far 
away, to course along through dark and devious chan- 
nels, that seemed to have no end, — and then at last to 
reappear in all their sparkling loveliness, to gaze upon 
the same bright sun, the same blue sky, that once they 
looked upon amid the far-off hills and vales from 
whence they first sprung forth! And as the sun-lit, 
passive stream reflects so faithfully the objects which 
surround it, — so, too, the Memory, that priceless boon 
conferred by bounteous Providence upon man, has 
power to mirror forth the scenes of childhood with such 
fidelity that they seem imbued with all the rich and 
glowing hues of other days, and the intervening years 
appear as but a brief and narrow span; and as the 
scenes that childhood's days once knew are left in the 
receding Past yet more and more with each succeeding 
revolution of the wheel of Time, they seem, in the en- 



12 THE ART OF MEMORY. 

chanting and abiding light of Memory, to grow more 
lustrous, and to shed a sweet and gentle fragrance on 
the eventide of life, — that period which we all would 
fain look forward to with that serene repose of mind, 
that sweet tranquillity of conscience which indulges in 
no dull repinings over wasted opportunities, nor in un- 
availing ruminations on the "Might have been.'' All 
these are among the blessings of Memory; and is not 
their attainment well worth the most earnest and per- 
severing effort throughout life? Surely the intrinsic 
worth to its possessor of a highly cultivated memory of 
the mind and heart is infinitely greater than all the 
wealth which can be measured by the gross material 
standards of this world. The treasures of the Mind 
and Memory are on a plane far above the level of ma- 
terial riches; between the two there cannot be com- 
parison, there can only be contrast, in which the latter 
to intelligent discernment are, as a matter of choice, 
but paltry, — are, too often, the carnal reward of mis- 
placed effort, the badge of a souPs poverty. The true 
measure of riches is their power to confer happiness 
on their possessor; true happiness is that only which 
is substantial and enduring; many may seek it in 
worldly w^ealth, and few may therein find it, but none 
there are who, in their pursuit of happiness, can afford 
to regard with other than a sense of their surpassing 
excellence and sublime beauty, the blessings of 
Memory. 



CHAPTER II. 



WHAT MEMORY IS. 



"All knowledge is but remembrance." Bacon. 

"That which constitutes recollection or an act of memory is the 
present image which a past sensation has left in us, an image which 
«eems to us the sensation itself." Taine. 

"Memory is a primary and fundamental faculty, without which 
none other can work; the cement, the bitumen, the matrix in which 
the other faculties are imbedded. Without it all life and thought 
were an unrelated succession." Emerbon. 

"There is no faculty of the mind which can bring its energy into 
effect unless the memory be stored with ideas for it to look upon." 

Burke. 

"Every organ — indeed, every area and every element— of the nerv- 
ous system has its own memory." G. T. Ladd. 

"Memory is the golden thread linking all the mental gifts and ex- 
-cellences together." E. P. Hood. 

"Memory is the cabinet of imagination, the treasury of reason, 
the registry of conscience, and the council-chamber of thought," 

Basile. 

"Remembrance and reflection how allied! 
What thin partitions sense from thought divide!" 

Pope. 

"What we miscall our life is Memory; 
We walk upon a narrow path between 
Two gulfs — what is to be, and what has been, 
Led by a guide whose name is Destiny." 

Charles Lotin Hildreth. 

(13) 



14 THE ART OF MEMORY. 

Quaint old Thomas Fuller, the pious, learned and 
witty divine, historian, biographer and poet, who lived 
in the seventeenth centurj^, and whose writings occu- 
pied a position of marked eminence in the literature 
of his day, gave this definition of memory: "Memory 
is the storehouse of the mind, wherein the treasures 
thereof are kept and preserved." 

?>ir William Hamilton defines memory in this wise: 
"Memory is the power of retaining knowledge in the 
mind, but out of consciousness.'' 

The following definition is given by Helvetius: 
"Memory is the magazine in which are deposited the 
sensations, facts, and ideas, whose different combina- 
tions form knowledge." 

Dr. Johnson uses this terse expression: "Memory 
is the purveyor of Reason." 

Many other great authors, also, have defined or aptly 
characterized the faculty of memory; but perhaps the 
most luminous definition of all is that given by Locke,, 
in his Essay Concerning Human Understanding : 

"Memory is the power to revive again in our minds 
those ideas which, after imprinting, have disappeared, 
or have been laid aside out of sight. * * * * When 
an idea again recurs without the operation of the like 
object on the external sensory, it is remembrance; if it 
be sought after by the mind, and with pain and en- 
deavor found, and brought again into view, it is recol- 
lection.'^ 

Memory is the power of reproducing in the mind 
former impressions, or percepts. 



WHAT MEMORY IS. 15 

Eemembrance and Eecollection are the exercise of 
that power, the former being involuntary or spontane- 
<ous, the latter volitional. We remember because we 
cannot help it, but we recollect only through positive 
effort. The act of remembering, taken by itself, is in- 
voluntary. In other words, when the mind remembers 
without having tried to remember, it acts spontane- 
ously. Thus it may be said, in the narrow, contrasted 
senses of the two terms, that we remember by chance, 
but recollect by intention, and if the endeavor be suc- 
cessful that which is reproduced becomes, by the very 
effort to bring it forth, more firmly intrenched in the 
mind than ever. 

What causes remembrance is allusion; that which 
our senses apprehend from time to time is stored away 
in the mind with a greater or less degree of distinct- 
ness, the reproduction of any particular portion thereof 
being dependent upon the appearance of the conscious- 
ness of impressions sufficiently suggestive to call the 
former impressions forth. The distinctive province of 
recollection is to find the suggestion or clue by means 
of which an original impression may be revived. Pres- 
ent perceptions or impressions call up past ones: for 
instance, we see a person's face, or hear his voice, 
whereupon a mental image thereof is impressed on the 
mind and retained by it with greater or less fidelity for 
a period of indefinite length, depending mainly on the 
vividness and force of the impression; when we again 
see the same face or hear the same voice, another men- 
tal image is formed which at once recalls the original 



16 THE ART OF MEMORY. 

one, and the two are intuitively seen to correspond, 
and thus we are said to recognize the person. The same 
is true of abstract ideas, and indeed of all mental con- 
ceptions; a former idea may appear in our mind again, 
or a present idea may, by similarity or contrast, suggest 
a former idea to us; thus an idea which has appeared 
in our consciousness may be reproduced if we only 
have at our command a suggestive idea with which to 
recall it. And the more of such suggestive ideas we 
have, the greater the probability that any particular 
idea can be recalled when desired. 

And what relation does memory bear to under- 
standing? It is nothing less than its very foundation- 
stone; upon this base the whole fabric of human knowl- 
edge, and even consciousness, must rest, for every con- 
scious action of the mind is rendered possible only 
through a comparison of some past impression with a 
present one, and the more critical this comparison the 
more perfect must be the memory. If the original im- 
pression were to become effaced from the mind directly 
after being made, it would be of no more significance 
to the present consciousness than if it had never ex- 
isted, for there would be nothing with which to com- 
pare the impression now present. Thus there could be 
no sensibility of change, for change involves action, 
and the mind could not act if each impression as it 
appeared in the consciousness at once vanished from 
recognition; for action of the mind is dependent upon 
its power to perceive the identity of a past impression 
on its reappearance, and to compare it with a present 



WHAT MEMORY IS. 17 

one, — ideas, or conceptions, being formed througli sucii 
comparison. And if memory is a prerequisite to con- 
sciousness and knowledge, it follows, perforce, that 
without its aid progress would be unknown to the 
human race: "enterprises of great pith and moment,'^ 
in the realms of either the physical or mental, would 
"their currents turn awry and lose the name of action," 
for memory alone furnishes the nutriment which mind 
uses, and must use, for its own sustenance and develop 
ment, and that there may be secured to its possessor 
the advantages deserved by intellectual, moral and 
material excellence. All our knowledge consists of 
what we remember or can recall, and our wisdom is in 
its rightful use. All genius or talent is built upon 
what mind originates, and it is impossible for mind to 
create except by the cooperation of memory; and as 
memory is the very basis of thought, it follows that 
the more perfect and intelligent the memory, the 
greater must be the power of thought. 

We are always using the memory; there is not a con- 
scious moment of our existence that it is not in action; 
every exertion of either ph^^sical or mental power is 
based upon the remembrance (using that word in its cus- 
tomary broad sense) of some previous act of a similar 
nature, and itself becomes the basis of some further act; 
in fact, everything that the senses take cognizance of be- 
comes a memory, and it is the sum of these memories 
that constitutes the individual — the quality of the indi- 
viduaPs mind dnd character depending on the quality 
and quantity of these memories so perceived by the 

2 



18 THE ART OF MEMORY. 

senses. Every person is a book, of feelings, of thoughts, 
of experiences — and, according to the distinctness and 
thoroughness with which the contents are written, be- 
comes the utility of the volume. It is a book which 
can be made of either enduring, or only ephemeral, in- 
terest; of superior quality, or only commonplace: all 
depends upon the writer; the record can be either a 
brief or a copious one, the characters effaceable, or 
indelible; the volume can be a confused aggregation 
of impressions, from the important down to the insig- 
nificant, or it can be a chronicle whose details are 
intelligently arranged, chapter by chapter and para- 
graph by paragraph, all properly indexed and ready 
for convenient reference. 

"How can the memory be improved?" may be asked. 
Through properly directed exercise. As by the intelli- 
gent practice of gymnastics we strengthen and develop 
our muscles, so do our memories increase in power and 
efficiency as we exercise them — ^which, if we should 
fail to do, must inevitably grow weaker. In both 
the physical and the mental world, to stand still really 
means to retrograde. A certain amount of exercise 
is necessary that our bodies or our minds may not lose 
in strength or quality; a still greater amount is essen- 
tial if they are to attain higher development — and not 
the least important consideration is that this exercise 
should be properly directed. 

Memory is a faculty to which man can by no means 
lay exclusive claim. It is perhaps no exaggeration to 
asseverate that every living thing possesses memory 



WHAT MEMORY IS. 19 

in at least some degree — from the ant, which is never 
at a loss to distinguish its own particular hill from the 
thousands of others in the vicinity, to the carrier 
pigeon, that can wing its way for hundreds of miles 
from home, and return with unerring precision to the 
spot from whence it started; or the dog, whose wonder- 
ful faculty of remembering faces and places is a matter 
of universal cognizance. The thrilling story of Andro- 
clus and the lion has passed into history; and who is 
there that is not familiar with instance after instance 
of remarkable memory power, in one form or other, 
in the animal kingdom ? 

The infant very soon learns to distinguish its own 
mother from all others that come within the sph'ere 
of its consciousness; and this embryonic form of mem- 
ory gradually develops, during the periods of child- 
hood and adolescence, into higher forms, more and 
more removed from the instinctive. With added years 
comes the great battle of life, that constitutes what the 
world terms "experience," which, after all, is nothing 
more or less than a series of memories. 

It is a well established law of our nature that what- 
ever we take the greatest native interest in we re- 
member the best; in other words, our memory grasps 
most tenaciously that for which it has the strongest 
affinity. As the loadstone attracts the piece of iron or 
steel, but not the bit of brass, so the memory intuitively 
seizes and retains that which has for it a natural at- 
traction, while perchance some other object of contem- 
plation no less worthy to be treasured in the memory, 



20 THE ART OF MEMORY. 

leaves no more impress upon it than the shadow cast 
by some vagrant drifting cloud does upon the moun- 
tain's side. The truant school-boy is little likely to 
forget where the most desirable fishing-spot is located; 
in what especial trees the newest birds' nests may be 
found; where the most accessible melon patch is situ- 
ated; or in what particular part of what particular 
orchard are growing the choicest apple-trees! The 
lover is not apt to quickly forget what his sweetheart 
said on the occasion when the all-important question 
was asked; and the miser can be relied upon to recollect 
just what persons are indebted to him, and the respect- 
ive amounts, and to remember the nature and value 
of each particular item that constitutes his hoard. 

It is a curious and suggestive fact that no two minds 
have exactly the same affinities, although there may 
be a general concordance among many minds. That 
in which a Linnaeus or an Audubon becomes engrossed, 
may possess little attraction for a Kepler or a Herschel; 
or, that which absorbs the energies of a Stephenson or 
an Edison, a Darwin or an Agassiz may find of little 
interest. A Dore or a Gainsborough gazes upon a 
magnificent landscape and the wTiole is at once im- 
printed on his memory in unfading colors; a Euler or 
a Kant looks on the same landscape and it leaves scarce 
an impression on his mind: purblind is he to its grand- 
eur and beauty; and 

"A primrose by a river's brim 
A yellow primroise is to him — 
And it is nothinsr more." 



WHAT MEMORY IS. 21 

Under ordinary circumstances our memory of any- 
thing that we have seen or rightly apprehended in the 
first place, should be faithful, in so far at lea^t as the 
main features are concerned. If there is a lack it ought 
only to be in completeness of detail, the cause of which 
lack is that not all of the details were originally 
grasped by the consciousness. 

But where that which caused the original impres- 
sion involved human action — and thus character and 
motive — our memory would be not essentially of the 
fact or occurrence itself, but of the interpretation we 
put upon it — which might be sometimes far from in- 
fallible. In such case, then, our memory would be self- 
created — simply a reproduction, with more or less 
fidelity, of a former state of consciousness, which latter 
might have no valid claim as reflecting with integrity 
the fact or occurrence in question. 

Thus if a person has performed an act which meets 
with our approval, his subsequent acts we are likely 
to view with reference to our opinion of that first one, 
and we will unconsciously gloss over their defects and 
magnify their virtues, because we are prejudiced in 
the person's favor — whereas if his first act has not 
been to our liking we are likely to perceive little to com- 
mend in his future ones. So our memory of it all is in 
some degree our own creation. The very acts them- 
selves are either modified or distorted, according to the 
standpoint from which we look at them, and thus the 
self-same acts may be carried very differently in one 
person's memory from what they are in that of another. 



22 THE ART OP MEMORY. 

It is indeed a striking peculiarity of human nature that 
different people see the same thing with very different 
eyes. For instance, it is almost impossible to learn the 
true details of any great catastrophe^ — reports of eye 
witnesses vary so widely. No two persons give the 
same account of a battle: a description of even the 
great battle of Waterloo Avhich will be generally ac- 
cepted as reliable has yet to be written; read Gardner 
or Chesney and you have one account — read Thiers 
or Hugo and you have one radically different. When 
Sir Walter Ealeigh was imprisoned in the Tower of 
London, a fracas occurred in the courtyard below, 
which was described to him immediately afterwards 
by several eye-witnesses, no two of whom, however, 
gave identical particulars. After trying in vain to 
learn the exact details, Ealeigh exclaimed in despair: 
"Here am I, writing a History of the World— attempt- 
ing to correctly portray events that happened thou- 
sands of years ago — when I find it impossible to gain a 
reliable account of a petty brawl that occurs under 
my very window!'' 

It is believed by many who have devoted more or 
less research to the subject, that nothing which has 
been apprehended by the mind at any time ever entire- 
ly escapes from the memory ; that all which has ever 
been in the consciousness is imprinted in ineffaceable 
colors, and is subject to revival at any future time, 
under favorable conditions; that although the muta- 
tions of time and circumstance may cause other im- 
pressions to intervene between our present conscious- 



WHAT MEMORY IS. 23 

ness and some former one, yet every inscription ever 
written on the mind is indestructible, and only awaits 
some fortunate turn of the wheel of memory to again 
appear in colors scarcely less glowing than of yore. 
Whether that theory be well-founded or not, it is cer- 
tain that the brain has a most marvelous capacity for 
storing away impressions; and there is no question 
that this capacity may be increased to a wonderful 
extent by proper mental discipline. With intelligent 
minds, it is also a. matter of common experience that 
occasionally there will pristinely fresh leap forth un- 
bidden, from the memory, the minutest details of some 
incident that has been but vaguely remembered, if at 
all, during many years — a fact which seems to suggest 
that only the impulse of a touch, which may be acci- 
dental, on the appropriate secret-spring is needed to 
summon forth from the hidden chambers of the mem- 
ory, as by Nature's magic, anything which has ever 
been there implanted. 

While it is indeed true that no more than one idea 
or conception can occupy the mind at the same instant 
of time, yet there are conditions under which the mind 
can pass from one state of activity to another with a 
rapidity which after the event we can scarce believe 
possible. Being suddenly brought face to face with 
death is without question the most powerful means by 
which latent memories are caused to be revived, as well 
as more distinct memories intensified, all folloAving 
each other with the most inconceivable quickness. Cow- 
perhas well said: 



24 THE ART OF MEMORY. 

"How fleet is a glance of the mind! 

Compared with the speed of its flight 
The tempest itself lags behind, 

And the swift winged arrows of light!" 

It sometimes happens that the acts of a whole life- 
time which are of consequence, and many that are not, 
will be flashed across the screen of Memory with such 
lightning rapidity and with such distinctness as to 
seem like a vast panorama whose every detail is 
grasped by the mind in an instant of time. Steve Bro- 
die, the noted high-bridge jumper, in. describing his 
feelings while making his famous leap from the Brook- 
lyn bridge, stated that it seemed as if, during the few 
seconds required for his descent to the water beneath, 
there passed through his memory all the acts of his 
life, in their proper order — some of which had not ap- 
peared in his recollection for years, and would all his 
life have remained dormant except for some extraor- 
dinary stimulus such as this. It is the almost universal 
experience of drowning persons who have been res- 
cued at the last moment and resuscitated, that during 
the few moments just preceding the loss of conscious- 
ness, the memory suddenly grasps with a marvelous 
vigor the deeds of the life which seems about to end, 
and by some mysterious compelling intuition the suf- 
ferer is able and obliged to recognize at the same time^ 
and more fully than ever before, the right or wrong of 
each particular act. 

Dr. Holmes tells of a man who loaned several hun- 
dred dollars to another, for which the latter gave his 



WHAT MEMORY IS. 25 

note. When the time for its payment came however, 
the note could not be found, its owner being unable to 
recollect where he had put it. The debtor, taking ad- 
vantage of that fact, refused to pay, claiming that he 
had never given the note — and the owner was com- 
pelled to submit to the loss. Some years afterwards 
he happened to be bathing in the Charles river, and 
while doing so was seized with a violent cramp and 
with difficulty was rescued from drowning. On recov- 
ering he went at once to his book-case, took therefrom 
a book, and between its leaves found the missing note I 
In the history of his life which had flashed across his 
mental vision during those few moments, the act of 
putting the note into a certain book and placing the 
book in his book-case had been vividly represented. 
The note, with interest, was subsequently collected. 

The theory has often been advanced, with more or 
less plausibility, that the possession of an abnormal 
memory is a hindrance to the ready operation of the 
reasoning powers: that the brain is clogged, as it were, 
with a vast accumulation of miscellaneous facts and 
ideas, so that the mind is unable to work with that 
perfect freedom necessary to insure originality of 
thought, and commensurate results. 

Instances are cited in which the possession of great 
memory power has been unaccompanied by correspond- 
ing mental gifts, the inference being that a less reten- 
tive memory would have superinduced a greater vigor 
of mind, and that its possessor would therefore have 
attained a far higher eminence in the world of thought. 



26 THE ART OF MEMORY. 

This is far from being susceptible of proof, how- 
ever, for if a full memory be detrimental to intellectual 
productiveness, it should follow as a logical sequence 
that a vacant memory must be the best possible stimu- 
lant to mental activity. If this theory be correct it 
might be claimed with equal force that a small patch of 
ground is capable of yielding as abundant a harvest 
as a large one, or that a child can carry as heavy a 
load as an adult! 

It is undoubtedly true that in many cases of phe- 
nomenal memory power nearly all the mental energies 
have been exerted in acquisition and little in original 
thought — based as that must be. on such acquisition; 
but unless, in any instance, this power of retentiveness 
is accompanied with at least a fair endowment of the 
creative faculty, a more positive and lasting reputa- 
tion would be achieved by the continued development 
of that talent only which is the especial gift of nature, 
and not by an unprofitable division of the mental ener- 
gies. Where the capacity for intellectual productive- 
ness exists in only a slight degree, if at all, eminence 
in that line can hardly be expected, however marvelous 
may be the power of acquisition and retention; for 
Memory is one thing and Keason another. 

The fact is that there is no substantial foundation 
to the theory that a copious memory impedes the flow 
of thought; history fairly teems with illustrations prov- 
ing that exactly the reverse is the case. Intellectual 
greatness is not possible of attainment if there be lack- 
ing the foundation of a tenacious memory; the latter 



WHAT MEMORY IS. 27 

is a prerequisite to the former; if he who has a richly 
stored mind possess not intellectual capacity, he will 
not under any circumstances; the material for thought 
to work with must be furnished by the memory — it 
can come from no other source; upon the power of recol- 
lection must depend that of creation, and he who has 
in his memory the most bounteous and best assorted 
store of well-prepared materials to draw upon will, as 
men are ordinarily constituted, have the most efficient 
ability to construct. 

The only possible case in which an exuberant mem- 
ory might be considered a hindrance to thought would 
be where the mental energies have been mainly spent 
in accumulation, and not enough in assimilation, in de- 
vouring without due attention to digestion — for there 
should be a proper equilibrium between the two in 
order that the best results may be attained; but even 
in the case of a person possessing the gift of a capa- 
cious memory it by no means follows that, had there 
been a less developed gift of memorizing, any notable 
result would have been achieved in the line of original 
thought. 

Is it probable that a Mezzofanti, who could learn 
the greater part of a language in a single night; or a 
Cartaret, who knew the Greek Testament by heart, 
would have become more noted had a far greater por- 
tion of his mental force been applied to literary pro- 
duction? Is it likely that a Woodfall, who could listen 
to a debate in the House of Commons and reproduce 
the whole without having taken a single note — or an 



28 THE ART OF MEMORY. 

Almansor, who could converse in twenty-seven lan- 
guages — would have attained a greater measure of 
fame had he materially neglected the exercise of his 
wonderful powers and invaded the field of authorship? 
Take the case of Blind Tom, the negro prodigy, who 
could repeat a discourse of fifteen minutes' duration 
without understanding a word thereof, and songs in 
French or German after a single hearing, omitting not 
a word or note and imitating j)erf ectly the style and ex- 
pression of the singer; and who could perform on the 
piano a composition of as many as twenty pages heard 
for the first time; would he have been even an atom in 
the great world of letters? Surely not, and these illus- 
trations only serve to show that abnormal memory 
power is a gift, and often dwarfs all the creative forces 
of the mind; he who possesses it is carried along as by 
a gigantic wave — it is his very life and being, over- 
shadowing all else; his peculiar talent is absorption 
and imitation — not creation. 

There is a close relation between memory and in- 
stinct; indeed, a highly cultivated memory is, in a 
sense, instinctive; that nature of undertaking which, 
on being essayed for the first time, may seem a severe 
task for the powers of the memory, becomes less diffi- 
cult of execution the next time it is attempted, and 
continues to grow easier of accomplishment with each 
succeeding trial, until eventually the work is per- 
formed with a facility and exiguity of conscious effort 
that seems akin to the operation of instinct. A most 
apropos illustration of this peculiar property, of the 



WHAT MEMORY IS. 29 

memory is given bj Mark Twain in Ms "Life on the 
Mississippi," in the narration of his experience in learn- 
ing the vocation of a pilot. In the first days of his 
apprenticeship it was extremely difficult for him to 
discern and imprint on his memory even a fractional 
part of the details of river navigation essential for a 
pilot to be familiar with — the windings of the channel, 
contour of the shore, various land and water-marks 
along the route, etc.; but with practice his vision grew 
more acute and his memory of locality constantly in- 
creased in power, until at last each detail was seized' 
by the memory almost unconsciously, and those fea- 
tures of landscape and water-course which at first were 
so difficult of discernment^ as distinguished from the 
general surroundings, and seemed so impossible of re- 
tention by the memory, became at last absorbed by the 
recollection with the utmost ease. 

Houdin, the great French conjuror, through long 
and intelligent practice, was able to pass rapidly by 
a toy-window and tell the names and location of nearly 
forty objects exhibited therein; and his son could 
excel even this marvelous feat ; and the feat was done 
with scarce an appreciable effort. 

Instances like those, and the case of an experienced 
railway conductor who can go through a long train of 
cars and remember the face of every passenger whose 
fare he has collected, and that of the Fifth Avenue 
Hotel waiter who daily receives and restores five hun- 
dred hats without making a mistake — serve to demon- 
strate the fact that, as the memory through sedulous 



30 THE ART OF MEMORY. 

cultivation in any especial line attains a high degree of 
development therein, the task or undertaking which 
it at first accomplishes only by severely conscious en- 
deavor is ultimately performed by almost unconscious 
action — yet all the more surely and faithfully by rea- 
son of the very spontaneity which marks it. It is 
through involuntary, rather than deliberate, action of 
the senses that the highest degree of excellence is at- 
tained in many kinds of physical and intellectual pro- 
ficiency. 

The skilled type-writer who has learned by long 
practice to touch his keys with such unerring precision, 
and the trained telegrapher who can click off his dots 
and dashes with such astonishing accuracy, perform 
their work in a great degree automatically. 

The piano virtuoso, by dint of arduous discipline, is 
able to execute the most intricate fantasias or im- 
promptus with the greatest ease, and yet with true fidel- 
ity of expression. 

The artistic actor, who is received with plaudits 
wherever he appears, may have become so familiar 
with his role as to perform it almost unconsciously. 
The late John T. Eaymond grew into the part of Col, 
Sellers so completely that he could enact it with but a 
slight sense of his own personality; Joseph Jefferson 
is accredited with the statement that to play Rip Van 
Winkle was as easy for him as eating his supper; and 
the elder Booth, it is said, frequently imagined while 
playing Kichard III. that he really was that monarch. 



WHAT MEMORY IS. 31. 

and on several occasions was with diflBiculty prevented 
from slaying a sixth Kichmond in real earnest ! 

It is through the t^iiconscious memory, then, rather 
than the conscious, or deliberate, that the mind is en- 
abled to attain its keenest perceptions — to reach the 
loftiest flights of fancy; through instinctive recollec- 
tion are the most notable and enduring results 
achieved. For that it is essential that the mind be 
placed in sympathy with whatever is sought to be con- 
ceived and realized. 

The grandest and most inspiring thoughts come 
unbidden; they are not brought forth by laborious and 
protracted effort; they flash up from Memory's sugges- 
tions, as from a pure and sparkling spring gushes forth 
the crystal tribute gathered drop by drop since long 
ago. As Ovid says: ^^Est deus in nobis; agitante calesci- 
miis illo,^^^ 

The faculty of memory seems to have been bestow^ed 
by an all-wise Providence in advance of the reasoning 
powers, that a bounteous fund of knowledge and sensi- 
bility and thought might be garnered by the wise and 
provident, to be unceasingly replenished and augment- 
ed in the years to come, and out of whose abundant 
stores the teeming mind might build imperishlabie 
structures of exalted thought and lofty sentiment and 
gorgeous imagery, to adorn, in splendor and in majesty, 
the hills and valleys and the plains of Time. 

**'There is a god ■within its; when he moves we are inspired** 



CHAPTER III. 



MAEVELS OF MEMORY. 



"How are such an infinite number of things placed with such 
order in the memory, notwithstanding the tumult, marches and coun- 
termarches of the animal spirits'." 

Jeremy Coulier. 

To the average individual of the present day, edu- 
cated by the hot-house methods with which our school 
system, as a whole, has gradually become permeated, 
and which do not tend to the best development of the 
memory powers, the accounts which history and tradi- 
tion have handed down to us of marvelous feats of 
memory performed by noted men of the past must seem 
well-nigh incredible; and yet, an ample volume might 
be filled with well authenticated instances of remarka- 
ble memory achievements by distinguished men of both 
ancient and modern times. 

While it is true that there are occasional instances 
of abnormal memory development along certain lines, 
among persons possessing a very inferior grade of men- 
tality, yet, as a rule, the greatest memories are found 
to be those of the greatest men — the two superlatives 

(32) 



MARVELS OF MEMORY. 33 

being uniformly correlative; and, so cardinal a faculty 
is that of memory, it may be safely said that there can- 
not be a great mind without a memory also great. 

While history has furnished many instances of the 
remarkable powers of memory possessed by distin- 
guished men, yet there are hundreds — yea, thousands 
— of cases in which men who have been prominent in 
the world of intellect have not been accredited by his- 
torians with being possessed of exceptional memories; 
and yet, good memories they must have had, in the very 
nature of things. One of the chief reasons why history 
has been silent regarding the memory-power of a vast 
majority of the world's celebrities undoubtedly is that 
their memories retained the essence of what had been 
received by them rather than the letter, and thus their 
cases did not furnish that direct iterative evidence of 
their memory capacity which history would be apt to 
note. The general statement that this or that person- 
age had a capacious memory would in itself have little 
significance as an historical fact; the strong quality 
of his memory would not impress our understanding 
unless details were given of specific performances, so 
that some comparison might be made with one's own 
abilities in similar lines. 

The mind of a Dante, a Dryden, a Beranger, or a 
Goethe might, having absorbed the choicest thoughts 
of all the ages, render them forth from that matrix, the 
plastic brain of genius, as renascent in assuming new 
and more entrancing forms of beauty, to be the wonder 
of all the ages yet to come; but, nevertheless, a Lipsius, 

3 



34 THE ART OF MEMORY. 

who could repeat the whole of Tacitus; a Leibnitz, who 
knew the ^neid by heart; or a Daguessereau, who 
could repeat a poem of considerable length after a 
single hearing, might leave a far stronger impress on 
history regarding his powers of memory. 

And then, too, history may often fail to do justice 
to its men of genius. When, in the eyes of Hume, Will- 
iam III. is a tyrant, and in those of Macaulay possesses 
the virtues of a saint, what shall we say of the discrim- 
inating judgment of historians? And when Sir Walter 
Raleigh, who in attempting to write a history of the 
world, endeavors in vain to get the facts concerning a 
street brawl under his very window, how can it be ex- 
pected that a complete and truthful record has been 
kept of the attainments of the men at whose genius we 
marvel ? 

Historians are only human, after all; they have 
their loves and hates, in common with the rest of hu- 
manity; and we may be sure that, in transmitting to 
posterity their versions of the annals of the past, they 
have, through passion or prejudice, or the lack of au- 
thentic information from those who were contemporary 
with the personages of whom they are writing, left un- 
said many a word of well deserved praise or censure. 

Still, in spite of all the omissions and transgres- 
sions of history, many conspicuous examples of mem- 
ory achievement by distinguished men of the past have 
come down to us, and a brief mention of some of those 
instances may not be devoid of interest and instruc- 
tion. 



MARVELS OF MEMORY. 35 

Mithridates, the great Pontic king, and relentless 
foe of the Komans, knew the names of all his soldiers. 
It is said that in his empire no less than twenty-two 
languages and dialects were spoken, and that he could 
converse with fluency in each of them. 

According to Pliny, Charmides, the Greek, could 
recite the contents of every book in his library, which 
was by no means a small one. 

Caesar possessed the remarkable power of being able 
to dictate to half a dozen secretaries at the same time, 
in as many different languages. No detail of public 
business ever escaped his memory, and on a certain 
occasion, finding it necessary to recall a law-suit which 
had taken place twenty years before, he gave all the 
details of the case without hesitation. It is said that 
he could repeat from memory more than eight thou- 
sand lines of poetry. 

Cleopatra, the peerless Egyptian queen, who suc- 
ceeded in so completely captivating both Csesar and 
Antony, was able to converse fluently in ten or eleven 
languages. 

Crassus, who with Caesar and Pompey formed the 
first Eoman triumvirate, had frequent occasion, while 
praetor in Asia, to adjudicate cases; and it is said that 
he could understand the testimony and pronounce judg- 
ment in any language or dialect that happened to be 
spoken in his presence. 

Hortensius, the great Roman orator, and rival of 
Cicero, had such a retentive memory that he could 
easily carry in his mind every point in an opponent's 



36 THE ART OF MEMORY. 

argument, down to the minutest detail, even though the 
discussion might last for hours. On a certain occasion, 
haying made a wager with one Sienna, he attended an 
auction sale lasting the whole day, at the close of which 
he was able to recall the name of every object sold, the 
price paid therefor, and the name of every purchaser, 
in their proper order. All this was accomplished with- 
out a single error, as was proved by the records of the 
clerk, who kept an account of all the transactions. 

Seneca was able to repeat, after one hearing, two 
thousand proper names in their exact order, either for- 
ward or backward. It frequently happened that per- 
sons in his audiences, for the purpose of testing his 
memory, would each recite a verse to him, which, when 
all had finished, he would repeat seriatim and without 
hesitation; and not only this, but he would thereupon 
repeat the verses in reverse order. 

In one of his works he gives quite a curious and 
amusing illustration of memory power: 

A certain author had written a poem of consider- 
able length, and, as was the custom of the time, read 
it in public, the assemblage being a very large one. On 
the reading being concluded, a man stood up in the 
audience and denounced the author as a plagiarist, 
claiming that he himself had written the poem, in proof 
of which he offered to recite it from beginning to end. 
The audience, with one voice, demanded that he should 
substantiate his claim, whereupon he recited the poem 
all the way through, without an error, and defied the 
author to do the same; which the latter, to his extreme 



MARVELS OF MEMORY. 87 

mortification, was unable to do, and the audience 
promi3tly decided that the man who had recited the 
poem from memory must be the true author. On the 
verdict being declared, however, the man frankly stated 
that he had really never heard the poem before, but had 
committed it to memory while the author was reading 
it. But, in spite of this admission, he received even 
greater honor for his wonderful memory than did the 
author for his talent in writing the poem. 

Eusebius, the great ecclesiastical historian, is au- 
thority for the statement that had it not been for the 
tenacious memory of Esdras, the Hebrew Scriptures, 
which were burned by the Chaldeans, would have been 
irretrievably lost. 

Charlemagne, the greatest military figure of the 
Middle Ages, could talk fluently in eight languages. 
He paid great attention to the study of every language 
spoken in his empire. 

Avicenna, the renowned Moslem philosopher and 
physician, when barely ten years of age knew the 
Koran by heart, and much Arabic poetry besides. 

The foregoing are a few of the examples of great 
memory power possessed among the ancients — in- 
stances which literature has preserved to us. That 
they are incomplete as to detail may well be regretted, 
as well as the fact that, in the cases of a large majority 
of the distinguished men of former ages, no specific 
mention is made of their powers of memory; and yet, 
from the records which we have, meager though they 
be in that regard, it is evident that the master minds 



38 THE ART OF MEMORY. 

of far-off time, no less than is the case with those of 
the present day, must have possessed rare memory 
power. 

Let us now turn to some of the notable examples 
of great memories of modern times, in the preserva- 
tion of which instances history has fortunately been 
far more provident than in the cases of great men's 
memories in the ages of the past. 

Scaliger, the younger, whose extraordinary memory 
and prodigious learning were the marvel of the age in 
which he lived, committed to memory the whole of the 
Iliad and Odyssey in three weeks. He could with ease 
repeat a hundred lines after a single reading. 

"Eare'^ Ben Jonson said in his later years that he 
was able to repeat verbatim from memory all the works 
that he had ever written, as well as a number of books 
that he had read. 

Sir Walter Scott frequently astonished his friends 
by exhibitions of his wonderful memory. Every now 
and then he would entertain them by reciting long 
poems, after having heard the same read only once — 
and that years before. On one occasion he repeated 
to a party of friends the whole of CampbelPs "Pleas- 
ures of Hope,'' after reading the poem through twice. 

Bulwer knew by heart all the Odes of Horace, as 
well as his other poems. 

Pascal, the eminent French philosopher, knew the 
whole Bible by heart, and could repeat any verse or 
paragraph without hesitation, when called upon. It 
is said that, up to the time when his health began to 



MAKVELS OP MEMORY. 39 

fail, he never forgot anything that he had ever read 
or thought. 

Landor carried his library in his head; it was his 
custom to give away a book after reading it, his reason 
being that he could retain in his memory all of a book 
that was worth keeping, and that it was thus useless 
to burden himself w^ith the care of it. 

It was said of Gibbon that a book was of no further 
use to him after his mind had once absorbed its con- 
tents. His power of mental retention was marvelous, 
as was also that of Carlyle, each of them carrying a 
prodigious amount of historical and of other informa- 
tion in his memory. 

Poule, Buffon and Byron knew their own works by 
heart. Bryant could repeat any of his poems from 
memory. 

Izaak Walton tells us that Bishop Saunderson could 
repeat all the Odes of Horace, all of Tully's "Offices,'' 
and the greater portion of Juvenal and Perseus. 

Cardinal Mezzofanti was, it is generally admitted, 
familiar with a greater number of languages and dia- 
lects than any other man who ever lived. Dr. Russell, 
his biographer, states that at the age of seventy-two 
the cardinal was at the height of his powers, and could 
speak thirty languages fluently and nine fairly well, 
besides nineteen more or less imperfectly, and that he 
could read eleven more. In addition to all those lan- 
guages, he knew more than forty dialects, each so dif- 
ferent from the parent tongue as to virtually consti- 
tute a different language; so that, altogether, accord- 



40 THE ART OF MEMORY. 

ing to Dr. Russell, the cardinal was master of no less 
than one hundred and eleven languages and dialects, 
more than a score of which he had acquired in the last 
twenty years of his life. Mezzofanti declared that he 
never forgot a word which he had once learned. 

Magiiabechi, the celebrated Florentine librarian, 
possessed such a retentive memory that his head was 
called a "universal index.'' He knew the location of 
every book in the vast library of which he had charge, 
and was familiar with all the great libraries of the 
w^orld. He was able to read in all ancient and modern 
languages that had a literature, and more than once 
stated he could repeat the titles of more than half a 
million books written in many languages on a great 
diversity of subjects. 

Max Mtiller, the great German scholar, was suffi- 
ciently familiar with eighteen different languages to 
be able to speak or write at will in any one of them. 

Elihu Burritt, the "learned blacksmith/' knew, it 
is asserted by his friends, all the languages of Europe 
and most of the Asiatic tongues. 

Cuvier, the greatest naturalist of his da^^, had a 
prodigious memory. Shortly before his death he w^rote 
to a friend that he had the materials for three impor- 
tant works in his head, all arranged and ready to be 
written down. He could state the names of over five 
thousand animals, as could also Agassiz. 

Dr. Asa Gray, the distinguished botanist of Har- 
vard College, knew the names of eight thousand plants. 
It has been estimated that Victor Huqo used more than 



MARVELS OF MEMORY. 41 

eight thousand different words in his ordinary worlv as 
an author. Milton had a vocabulary of more than sev- 
enteen thousand words, and Shakespeare the extraordi- 
nary one of nearly twenty-five thousand. 

Dr. Johnson was said to never forget anything that 
he had at any time seen, heard, or read. 

Professor Cunningham, the Scottish theologian, 
could recite Virgil and Horace from beginning to end. 
George Borrow, the noted English linguist, while at 
St. Petersburg published a little book named ^'Tar- 
gum/^ in which occurred translations by him in prose 
and poetry from no less than thirty languages. 

Lord Bolingbroke, the distinguished English states- 
man, complained of the exceeding tenacity of his mem- 
ory, and gave it as an excuse for limiting himself to 
reading only the best authors. It is stated by his friend 
Pope that he could write on any subject as well without 
his books as wdth them. 

Niebuhr, the historian, at seven was a marvel of 
boyish erudition. In his youth he occupied a position 
in one of the government offices at Copenhagen, and 
on one occasion a book of accounts was burned which 
contained matters of great importance. Mebuhr, by 
an effort of his memory, restored the entire contents. 

Bossuet, the distinguished French ecclesiastic, 
knew the whole Bible by heart, as well as all of Homer, 
Horace and Virgil — an accomplishment the story of 
which almost staggers belief! 

Antoine La Motte, the famous French poet and 
dramatist, possessed a strength of memory which seems 



42 THE ART OF MEMORY. 

almost incredible. On a certain occasion Voltaire, 
then a very young man, read to La Motte a tragedy 
which he had just completed. The reading was list- 
ened to throughout with the closest attention, and upon 
its conclusion La Motte said: "Your tragedy is most 
excellent, and I can safely venture to predict its suc- 
cess. One thing, however, annoys me; you have al- 
lowed yourself to plagiarize in the second scene of the 
fourth act.'' Voltaire, greatly chagrined at this accu- 
sation, defended himself as best he could, insisting that 
the play in its entirety was his own composition. "You 
will pardon me for calling your attention to the fact,'' 
said La Motte, "but I can assure you that I do not make 
the statement without being able to support it with 
proper proof; I will therefore recite this scene to you, 
which pleased me so much when I first read it that I 
committed it to memory and am confident that I have 
not forgotten a word of it." La Motte then repeated 
the whole scene without the slightest hesitation, and 
with great apparent animation. Voltaire was utterly 
overcome with amazement, and scarcely knew what 
to say. After enjoying the young author's discomfiture 
for some moments, La Motte said: "Do not be dis- 
tressed, my young friend; no one but yourself is enti- 
tled to the credit of writing this scene, for it is as 
much yours as all the rest of the play; but it impressed 
me as being so noble and touching that I was unable 
to resist the pleasure of committing it to memory as 
you went along in your reading." 



MARVELS OF MEMORY. 43 

Edward Henry Palmer, the great English Oriental-' 
ist, could speak every European language; was master 
of the Turkish, Persian, Arabic, and Hindustani 
tongues, and also the dialect of the gypsies, and even 
deceived natives as to his nationality. On one occasion, 
while at Paris, he happened to be conversing with a 
Zouave, or "Turco," a native Arab. After the colloquy 
had proceeded a little while, the Arab said, "Why do 
you wear these clothes?" Palmer replied, "Why, how 
should I dress?" "Dress like what you are!" was the 
indignant response; to which was added, "like a Mus- 
lim!" 

Von der Gabelentz, the noted German linguist and 
ethnologist, was equally at home in Suabilis, Samoyeds, 
Hazaras, Aimaks, Dyaks, Dakotas, or Kiriris, and could 
translate from Chinese into Manchu, compile a gram- 
mar or correct the speech of the Fiji Islands, New Heb- 
rides, Loyalty Islands or New Caledonia. 

Sir William Jones, the distinguished linguist, was 
thoroughly familiar with thirteen languages, and was 
able to read in thirty others with comparative ease. 

Thomas Fuller, the noted English divine and author, 
once undertook that, having walked from Temple Bar 
to the farther end of Cheapside, in London, he would 
repeat, after his return, the names on all the signs on 
both sides of the street, and give them in their order, 
first as seen going and then as seen returning. He ac- 
complished the feat with absolute correctness. It is 
said that he could write a manuscript page by setting 
down the first word of each line, then the second, and 



44 THE ART OF MEMORY. 

SO on, until the page was completed, composing the 
matter as he so proceeded. 

Prescott, the American historian, is said to have 
composed and finished his narratives in his mind before 
a single word of them was committed to paper. M. de 
Lacepede, a noted French writer on Natural History, 
possessed the same remarkable facult}^ — composing 
and correcting his works mentally before writing them 
down. 

Jeremy Taylor wrote his "Liberty of Prophesy ing'^ 
without access to books. He could memorize his own 
sermons with the utmost ease. His ability in this re- 
spect was so phenomenal that some of his friends used 
to facetiously say of him that he began committing his 
sermon to memory on the ringing of the first bell for 
service ! 

Professor Lawson of England sometimes examined 
his classes in the Hebrew and the Greek Scriptures 
without once referring to a book. He declared to a 
friend on a certain occasion that if by any chance all 
the existing copies of the Bible should be destroyed, 
he could restore from memory all the text with the ex- 
ception of a very few chapters. After a single perusal 
of a sermon he could repeat it verbatim from the pulpit. 

A most remarkable story is told of a French novelist 
who in his earlier years had been a printer by trade. 
He possessed such a prodigious memory that he is 
said to have composed a novel and set it in type at the 
same time. If this account be reliable, it is probably 



MARVELS OF MEMORY. 45 

the only case on record in which a book was printed 
without being first prepared in manuscript. 

Ignatius de Eossi, the noted Italian scholar, had a 
marvelous memory. He was once paying his colleague, 
Canon Lattanzi, a visit at his home in Tivoli, where 
the canon had also invited a few other friends. In the 
course of the conversation the subject of the wonder- 
ful mnemonical powers of Eossi came up, w^hen the lat- 
ter stated that if any one ]3resent would repeat a line 
from any one of the four great poets of Italy he would 
undertake to recite the one hundred lines immediately 
following. That Eossi could do this seemed incredible, 
but the test was made, and to the amazement of all the 
feat was accomplished with perfect success. 

But of all the great memories of modern times that 
of Eichard Person w^as probably the most wonderful. 
He knew almost the whole of Homer, Horace, Cicero, 
Yirgil and Livy; he could repeat whole plays from 
Shakespeare and complete books from "Paradise Lost,'' 
scenes from Foote, and scores of pages from Gibbon's 
^^Decline and Fall," or Eapin's works. He knew by 
heart the whole of "Mortal Tale of the Dean of Bada- 
jos," and Edgeworth's "Essays on Irish Bulls," and 
could repeat from beginning to end Smollett's "Eoder- 
ick Eandom" and other noted English novels. He could 
recite a newspaper page after one reading, and said 
that he would undertake to repeat the entire contents 
of a wreck's issues of the "London Morning Chronicle." 

One of the most marvelous feats of recent times 
was performed in August, 1897, at Sondrio, capital of 



46 THE ART OF MEMORY. 

the Valtellina district, in the northern part of Italy, by 
Signor Edoe, professor in the Institution di Lorenzo^ 
who, on a wager, repeated from memory, and without 
making a single mistake, the whole of Dante's immortal 
poem, "Divina Commedia,'' which consists of nearly 
one hundred cantos, an amount of matter about equal 
to the number of words contained in the New Testa- 
ment. The feat occupied about twenty-four hours in its 
accomplishment, lasting from 6 p. m. on one day until 
2 p. m. the following day. It was achieved in the pres- 
ence of a committee of associate professors and literary 
men, who, at about midnight, divided into two parties, 
alternately sleeping and listening until the recitation 
was finished, the text being carefully followed by 
prompters during the w hole time, all in order that there 
might be no question as to the genuineness of the per- 
formance. This feat was accomplished after a prep- 
aration that was comparatively short, considering the 
great length of the poem, and is perhaps the most won- 
derful exhibition of verbal recollection in recent times, 
—which goes to show that, with all its defects, this 
commercial age of ours is able to, at least now and 
then, produce its masters of the great art of Memory. 

Among the well authenticated instances of marvel- 
ous precocity in relation to the memory faculty, occur- 
ring in modern times, may be mentioned the following: 

William Wotton, an English prodigy, born in 1666, 
could translate Greek and Latin readily at the age 
of five; and when eleven years of age perfectly under- 
stood, besides Latin and Greek, Hebrew, Arabic and 



MARVELS OF MEMORY. 47 

Syriac, as well as most of the modern languages. He 
was then familiar with history, both sacred and pro- 
fane, and was well versed in divinity, law, mathematics, 
chronology and antiquities; in fact, he had acquired 
a universal education at the age of only eleven. 

Bishop Thirlwall, the historian, was a prodigy of 
learning. He was able to read Latin when only three 
years old, and at the age of four read Greek with an 
ease that amazed all who heard him. When seven years 
of age he wrote an essay, "On the Uncertainty of Hu- 
man Life,'' which was subsequently included in his 
"Primitiae," or "First Fruits," published while the boy 
was in his twelfth year. The book contained nearly 
forty sermons, besides a number of essays and poems. 
Perhaps in the whole history of literature there is not 
another author whose first book was published before 
he was yet in his teens. 

John Stuart Mill began studying Greek at three 
years of age, and before he was eight had devoured 
the works of Hume, Gibbon and Robertson, and also 
read the whole of Herodotus, Xenophon's "Anabasis," 
the "Cyropsedia" and "Memoriabilia" of Socrates, be- 
sides parts of Lucian and Isocrates and six of the "Dia- 
logues" of Plato. 

Another case of wonderful precocity is that of John 
Philip Baratiere, who was born in Anspach, Bavaria, 
on Jan. 10, 1721. His powers of memory were so mar- 
velous that when only four years of age he could con- 
verse in French, German and Latin. At six he had 
mastered Greek, and at eight was familiar with He- 



48 THE ART OF MEMOKY. 

brew. When ten years old he translated from Hebrew 
into French the "Travels of Benjamin of Tudela," en- 
riching the same with valuable annotations. In one 
winter, while yet a young boy, he read twenty large 
folios, with all the intelligence of a vast, comprehensive 
mind. At a very early age he produced a voluminous 
work of great excellence on Egyptian antiquities. He 
was also precociously proficient in mathematics. This 
wonder among prodigies died in his twentieth year. 

But perhaps the greatest marvel of precocity in all 
ages was Christian Henry Heinecken, whose birth oc- 
curred at Lubeck, Germany, on Feb. 6, 1721, less than 
a month later than that of Baratiere. At ten months of 
age he could talk, and when fourteen months old knew 
the histories in both the Old and New Testaments. In 
his thirtieth month he was familiar with geography, 
anatomy, and the history of the nations of antiquity, 
understood the use of maps, and knew five thousand 
Latin words. In his fourth year he had become con- 
versant with ecclesiastical history and also the doc- 
trines of divinity, with their proofs from the Bible. 
Further, he knew two hundred hymns and their tunes, 
and eighty psalms ; fifteen hundred verses and sentences 
from the Latin classics; could repeat many chapters 
from the Bible; understood arithmetic, and was famil- 
iar with the history of Europe; and at the Court of 
Denmark he delivered twelve speeches without once 
faltering. He could, moreover, talk fluently in German, 
French, Low Dutch and Latin. His stupendous mem- 
ory caught and retained every word that he read or 



Marvels of memory. 49 

heard. This unexampled prodigy lived only until June 
27, 1725, being less than four-and-a-half years old at 
the time of his death. 

A few examples will now be given of extraordinary 
power in various lines of memory in the case of per- 
sons evincing a general intellectual capacity not more 
than mediocre, in some instances even insignificant in 
that general regard. Thomas Keid, Scottish philoso- 
pher and author of various works on mental science, 
tells of a London auctioneer who used to sell goods at 
auction all day, and when evening came would write 
down the denomination and price of every article sold, 
and with each the surname and initials of the pur- 
chaser. 

Baillie relates a story of a waiter in a London res- 
taurant, who, on a wager of a few pounds, memorized 
the entire contents, advertisements and all, of a daily 
paper of eight pages, accomplishing the feat in only 
four hours. 

An Englishman named William Lyon, a strolling 
player, had a most astonishing memor^\ One evening, 
at Edinburgh, while passing a social evening with a 
party of friends, he made a wager of a bowl of punch 
that he could the next morning repeat from memory 
the contents, from beginning to end, of the "London 
Daily Advertiser." At the appointed time the test was 
made, and he accomplished the task without making 
a single error, the matter including all sorts of foreign 
and local news, from the important down to the trivial; 
the quotations of various railway and other stocks and 



50 THE ART OP MEMORY. 

bonds, legal notices of every description, the current 
prices of all kinds of provisions, etc., and advertise- 
ments of every character imaginable. 

Dr. Macklin, the noted actor and dramatist, tells a 
story of a man who called upon the Greflfter Fagel, a 
Dutchman of note, for the purpose of exhibiting his 
wonderful powers of memory, offering to subject him- 
self to any test that might be demanded. He was 
handed a newspaper which happened to be lying on the 
table, and requested to read it through and repeat the 
contents verbatim. He thereupon read the paper as 
desired, and, after doing so, repeated the entire con- 
tents without omitting a single word, to the exceeding 
amazement of Fagel, who could not find words ade- 
quate to express his admiration of the man's wonder- 
ful mnemonical power, upon which the latter said : "Oh ! 
this is nothing; shall I repeat the same backward?'' 
"That is impossible!" exclaimed Fagel. "I will prove to 
you that it is not, if you will have the patience to 
listen," replied the stranger, who accordingly proceed- 
ed without the slightest hesitation to demonstrate his 
ability to perform the feat, beginning at the end of the 
last column and ending with the title. 

An English mnemonician once presented himself to 
Frederick the Great for the purpose of giving an exhi- 
bition of his poAvers, Shortly afterwards the Prussian 
king invited a friend, who was a poet of some note, 
to pay him a visit. The poet complied, and at an ap- 
pointed time read to the king a poem of considerable 
length which he had just finished. The Englishman, 



MARVELS OF MEMORY. 51 

in the meantime, was in the room, and so situated that 
he could hear every word of the poem, but was entirely 
concealed from view. When the reading of the poem 
had been concluded, Frederick remarked that the poem 
could hardly be original, as there was a foreigner pres- 
ent who could repeat the poem from memory. Upon 
a sign from the king, the stranger made his appearance, 
and was asked if he had ever heard of such and such a 
poem (mentioning the composition just read). "Oh! 
yes,'' was the response; "I know the poem by heart." 
To the poet's amazement and chagrin he then recited 
from beginning to end the poem which the king's visitor 
had taken infinite pains in composing; whereupon, the 
mortified author, succumbing to a sudden fit of rage, 
immediately tore the manuscript into shreds. Upon 
being told of the circumstances under which the Eng- 
lishman had become familiar with the poem, the poet's 
wrath became sufficiently appeased for him to be quite 
willing to do penance for his outburst of passion by 
rewriting the poem from a second recital of it by the 
stranger, who had no difficulty in going through with 
it as before. 

In Friars Hill^ West Virginia, there lives a man 
not far from forty years of age, named George W. Mc- 
Millon. He seems to remember everything that he 
ever read or knew. He can give the name, birthday, 
date and hour of death, of every president of the United 
States not now living; the majority or plurality by 
which each was elected, and the minutest published 
details of all their lives. He can relate the particulars 



62 THE ART OF MEMORY. 

of every visit he has made during his life; can give the 
names of all the persons he has met within two weeks 
previous, and what each person said. He can also quote 
chapter after chapter from the Bible, and recite poems 
of three thousand words in length without missing a 
single word. 

The Toledo ^'Bee'' recently told of a most extraor- 
dinary case of memory power, that of a man named 
Clark, residing in New York City. He can remember 
the number of votes cast by each of the chief political 
parties in each state of the United States at each of the 
last four national elections. He knows the number of 
square miles in every country in the world, and in every 
state in the Union. He can quote from Shakespeare 
for hours without making a mistake, and is able to re- 
cite the first four books of Homer's "Iliad" in the orig- 
inal Greek. He can learn any language in two weeks 
sufficiently well to read its literature with enjoyment. 
He is familiar with the writings of all the classic au- 
thors in English, Latin and Greek; which includes, in 
his case, that he can repeat page after page of the works 
of any of them, and that it would be difficult to give a 
quotation from any one of the classics which he could 
not promptly locate and quote the preceding and fol- 
lowing passages. He is also more or less familiar with 
standard authors in French, German and Italian, and 
his researches have even extended into Chinese, Japan- 
ese, Arabic and Sanskrit. He can give every important 
date in history, and has also a considerable knowledge 
of the science of music. 



MARVELS OF MEMORY. 53 

Dr. Moffat, the distinguished African missionary, 
once preached a long sermon to a tribe of wild negroes, 
on the conclusion of which he sat down to rest himself 
Shortly afterwards he noticed a commotion a little dis- 
tance away, quite a crowd having gathered about one 
negro, who was talking to them in an earnest, impas- 
sioned manner, his discourse being accompanied with 
frequent gestures of the arms and body. Curious to 
find out what the negro w^as saying that could so inter- 
est his hearers. Dr. Moffat approached closer, when, 
to his astonishment, he found that the native was 
preaching his, the reverend investigator's, own sermon 
over again, word for word, and even with the inflections 
and accompanying acts of gesticulation! 

In the early part of the present century there was an 
old beggar living at Stirling, Scotland, who was called 
"Blind Alick.'' He knew the Bible by heart so thor- 
oughly that if a sentence was read to him he could at 
once name the book, chapter and verse; or if the latter 
were first indicated he could quote the exact words. A 
man once tested the accuracy of his memory by repeat- 
ing a verse, in doing which he purposely made one 
verbal error. Alick named the place in the Bible where 
the passage occurred, at the same time pointing out the 
error of the quotation. The man then asked him to 
repeat the ninetieth verse of the seventh chapter of 
Numbers. Without hesitation, Alick replied: "There 
is no such verse; the chapter has only eighty-nine 
verses.'' 



54 THE ART OF MEMORY. 

In 1895 quite a sensation was caused in St. Pe- 
tersburg by the advent there of an illiterate peasant 
woman, seventy years of age, from Olonetz, named 
Irma Andrejewna Fedosova, who, it is said, could re- 
peat upwards of 19,000 folk-songs and poems, a rhyth- 
mic repertoire, comprising fairy stories, legends, ro- 
mances of love, camp, and battle, and comic and tragic 
tales of every variety — an accumulation whose real 
magnitude can hardly be conceived by the ordinary 
mind. A noted Kussian litterateur, having accidentally 
heard of this woman's wonderful powers, had brought 
her to the capital, and, with the assistance of an asso- 
ciate, he spent several weeks writing down her treas- 
ure of folk-lore, with a view to publishing it. 

"The Popular Science Monthly'' of January, 1880, 
tells of a lady possessing most wonderful memory pow- 
ers, which were notably developed at a very early age. 
Her name was Dorothy Schlozer, and she was a na- 
tive of Hanover. Before reaching her third year she 
had learned Low German, and within three years fol- 
lowing had mastered French and German, other lan- 
guages being soon afterwards learned, also with re- 
markable rapidity. She knew Latin and Greek before 
attaining her fourteenth year, and was in every respect 
a good classical scholar. She was proficient, also, in 
every branch of polite literature, and in many of the 
sciences. 

The same periodical also records a most peculiar 
case of memory power in a youth named Hicks, who 
was employed in one of the railroad yards near Koches- 



MARVELS OF MEMORY. 56 

ter, N. Y. He could give the number of any one of 
nearly three hundred locomotives on simply hearing 
its bell ring. He was subjected to frequent tests, and 
was invariably correct. When we consider that the 
range of sounds possessed by engine-bells is very lim- 
ited, probably not exceeding an octave, and that the 
variety of sounds which this youth must have thus been 
able to distinguish and carry in his memory exceeds 
two score for each tone, the performance almost sur- 
passes belief! 

By the foregoing striking examples of great mem- 
ory attainments, and especially those regarding persons 
who have been eminent in literature or otherwise dis- 
tinguished as historical characters, it seems to be amply 
demonstrated that high intellectual ability, either 
special or general, and superior memory-power go hand- 
in-hand; that while there have been notable instances 
in which the possession of abnormal memory develop- 
ment along certain narrow lines has been accomplished 
with mediocre, or even very inferior, general mental 
ability, yet that a high order of intellect and a broad 
retentive memory are inseparable; for mind is built 
upon memory — other foundation than that there can- 
not be. With that foundation deep and broad, so is the 
superstructure lofty in the sight of men and of large 
capacity; thus Nature, the great architect, builds mind. 
A tenacious memory, in a restricted sense, may exist 
at the expense of intellect; but where a great mind 
exists, a great memory must exist also. As a rule, the 
more powerful the intellect the more capacious must be 



66 THE ART OF MEMORY. 

the memory; in which is meant, not that parrot-like 
memory which embodies the form rather than is in- 
spired by the essence — which has affinity for cold, ster- 
ile facts rather than warm quickening ideas — which 
absorbs but seldom gives forth; not a merely auto- 
matic memory such as that, but the intelligent, effi- 
cient memory, which discards the trivial and unprofit- 
able, retaining only the worthy and serviceable, and 
so assimilating the same as to make it a beneficial 
possession, to be transmuted, it may be, into pearls of 
thought far transcending in worth and beauty aught 
from which they were thus sublimed. 

History has failed to tell us of any notable memory 
achievements by certain among the master-minds of 
the world; none such is recorded of Shakespeare, Cer- 
vantes, or Goethe — that crowned king! those mighty 
lords! of the intellectual spirit-land; a very unfortunate 
omission in their cases, it may seem, and yet their 
powers of memory could not have been other than phe- 
nomenal; but those powers were, it must be, of that 
comprehensive nature which absorbs ideas rather thai? 
literal facts — the latter only as they have an essential 
bearing on the former — and which rejects the chaff, re- 
taining nought except the golden grains of thought, 
whose destiny, with such genius, is to issue forth once 
more, as from richer soil, regenerate in new forms and 
instinct with a higher life which the master has 
breathed into them. 

Thoughts originated by lesser intellects and ab- 
sorbed by greater undergo in the alchemy of the mind 



-i 



MARVELS OF MEMORY. 57 

a metamorphosis, reappearing in a garb more rich and 
beauteous by far than that which they first assumed. 
Such ethereal chemistry may be termed the subliming- 
work of Genius; but behind it all — its foundation, its 
inspiration — there is, there must be, Memory in its 
grandest and its noblest form — the Memory of Ideas, 



CHAPTER IV. 



MNEMONICS, PAST AND PRESENT. 



*'By simple and mechanical methods one man shall do that in a 
month which shall cost another of equal ability whole years to exe- 
cute." Dr. Priestly. 

"Marshal thy notions into a handsome method. One will carry 
twice more weight trussed and paclved up in bundles than when it 
lies untoward, flapping and hanging about his shoulders. Things or- 
derly fardled up under heads are most portable." 

Thomas Fuller. 

"Use the most proper methods to retain the ideas you have ac- 
quired; for the mind is ready to let many of them slip, unless some 
pains be taken to fix them upon the memory." 

Isaac Watts. 



The necessity of employing artificial means to as- 
sist the memory in attaining its highest capabilities, 
or even of reaching a reasonable point of excellence, 
has been recognized by the most intelligent minds from 
the earliest times, and great men in all ages have not 
hesitated to admit their dependence on mnemonics as a 
means of storing away in their minds much useful 
knowledge that would otherwise have forever faded 
away. 

(58) 



MNEMONICS, PAST AND PRESENT. 59 

Mnemonics, after all, is but another term for the 
art of systematic memorizing, and possesses proper- 
ties which are of inestimable value to the seeker after 
knowledge, but which, unfortunately, receive far too 
little appreciation from the average individual. Of the 
multifarious impressions received by the mind from 
time to time, each one that is deemed worthy of being 
remembered may, by the aid of mnemonics, be deposited 
in its proper apartment of the memory, from whence 
it can be brought forth at will with but slight effort. 

Mnemonics makes the most of what is given into 
memory's safe-keeping; preserves an orderly arrange- 
ment of memory's possessions, rendering them avail- 
able on demand, and thus may be said to substitute 
In large degree certainty for chance. 

There seems to exist a comparatively widespread 
belief, created for the most part by a certain class of 
writers, that mnemonics interferes with the natural 
working of the memory — ^that so-called "natural mem- 
ory'' does not, and should not, employ devices of any 
kind to increase its efficiency. That idea, however prev- 
alent though it may have become, and rightful as objec- 
tion may be to many pseudo-aids falsely termed mne- 
monical, is essentially untrue. If genuine and properly 
applied, mnemonics, instead of inpeding the proper ac- 
tion of the memory, greatly facilitates its working along 
natural lines. Its chief point of excellence is that it 
prevents the memory from falling into slovenly habits, 
which it is almost certain to do unless rightly guided. 

In the case of a well cultivated memory, its stores 



60 THE ART OF MEMORY. 

are carefully assorted and properly labeled tor ready 
reference. If the memory be an uncultivated one, it is 
liable to fail in responding on occasions of dire need, 
because its contents are so illy arranged that there is 
no certainty of their being available when wanted. 

In the realm of mentality that only is natural which 
is guided by intelligence. All genuine knowledge is re- 
ciprocally complemental with reason; true mental 
growth is governed by laws which are immutable — 
they are thus natural, and these laws also include Mem- 
ory, the very foundation of knowledge. To do anything 
in the most natural way is to do it in a manner which 
is based on sound principles, which are discerned by 
intelligence, and their verity confirmed by experience, 
— and on this basis it can hardly be called "natural'^ 
for the memory to be encouraged to passively receive 
whatever is poured into it, with the expectation that 
these impressions and ideas will somehow or other take 
care of themselves! The memory is natural only if un- 
derstanding and judgment be employed in the storing 
away of whatever the mind apprehends, even though 
this task may not be performed in the most advan- 
tageous manner; whether or not it be done through the 
exercise of the reasoning powers is the touchstone by 
which we may determine if our memory be a natural 
one or not. 

Most of us trust our memory as if it were possessed 
of almost illimitable power. We pour into it indis- 
criminately everything that our senses take cognizance 
of, and seem to expect that by some sort of intuition it 



MNEMONICS, PAST AND PRESENT. 61 

will contrive to preserve all those impressions, and in 
an orderly manner, and be ever prepared to deliver on 
demand whatever of its stores may be called for. 

In the training of all our other faculties except the 
memory, however, it is deemed necessary to use method; 
unless method were employed, intellectual growth, in 
even a moderate degree, would be an impossibility; 
in every stage of a liberal education method is an all- 
important factor. 

We grow in knowledge through a systematic course 
of study; we are able to take each successive step 
because the last step has strengthened and broadened, 
the foundation of our intellectual being. We find it 
necessary to employ method in every phase of life in 
which progress is possible; but with an inconsistency as 
singular as it is inexcusable, we allow a vast propor- 
tion of the ideas and impressions taken in by our mind 
to run at large, as it were, blindly trusting that some- 
how, without intelligent effort on our part, they will 
distribute themselves with such perfect propriety as to 
be readily available at all times! 

While there is, to a minor extent, an instinctive 
classification in the memorizing of knowledge which 
the mind receives, yet this is relatively limited in effect, 
as should naturally be the case with such work unless 
intelligently done; and the result when an immethod- 
Ical manner of preserving impressions has been allowed 
to prevail is that our memory is not what may be termed 
reliable; that which has been intrusted to its custody 
it may yet, unanchored, have within reach, but unless 



62 THE ART OF MEMORY. 

such matter is conveniently available it must generally 
be of little practical use to its possessor, and it cannot 
be rated as truly available unless put away in a sys- 
tematic manner. 

To so deposit Memory^s archives that they may be 
brought forth at will, is an art, and this art, translated 
into a significant term, is mnemonics. 

According to Pliny, Cicero, Quintilian, and other 
writers of antiquity, who both recommended and prac- 
ticed mnemonics, its invention originated with Simon- 
ides, the famous Grecian poet of Ceos, who flourished 
about 500 B. C. 

The circumstances under which he came to originate 
his system are said to have been as follows : 

The victor in one of the series of Olympian games, 
inflated with vanity over his success, desired Simonides 
to compose a poem commemorating the event, to which 
the poet assented, for a stipulated price. In due time 
the poem was completed, the victor being extolled in 
the most flattering terms, according to contract, but 
in the poem Simonides happened to speak also in praise 
of Castor and Pollux, the gods of boxing and equestrian 
exercise in Grecian mythology. His patron, who con- 
sidered that he had bargained for a poem devoted ex- 
clusively to laudation of his own exploits, thereupon 
took dire offense because of this alleged violation of the 
agreement, and refused to pay Simonides more than 
half the amount agreed upon, telling him to collect the 
other half from those who had shared his own glories 
in the poem. Shortly afterw^ards a banquet was given 



MNEMONICS, PAST AND PRESENT. 63 



in honor of the victorious contestant, to which Simon- 
ides was invited. Before the conclusion of the feast 
he was called out by a messenger, and had scarcely left 
the building when the ceiling fell in, burying the enter- 
tainer and all his guests in the debris; and when the 
relatives and friends of the victims came to identifv and 
take away the remains for burial, they found the bodies 
so crushed and mutilated as to be impossible of recog- 
nition. It happened, however, that Simonides remem- 
bered the place which each guest had occupied at the 
banquet table, and by means of that the remains were 
identified. 

It was upon this event that mnemonics is believed 
to have been founded. Simonides seems to have shortly 
afterwards invented a complete system of artificial 
memory based upon this tragic occurrence, and to have 
taught it with great success. 'His principles were sub- 
sequently introduced and developed at Kome by Metro- 
dorus, the friend of Epicurus, and constituted the 
groundwork of all mnemonics for many centuries. 

The essential features of that system, originated by 
Simonides, and which is commonly termed "the topical 
system,'^ are as follows: 

A building was pictured in the mind, divided and 
subdivided in a certain order; this order was thoroughly 
committed to memory, and each room represented by 
some animal, bird or other living creature, with which 
things or ideas to be remembered were arbitrarily asso- 
ciated. 

Each of these "memory" apartments was capable of 



64 THE ART OF MEMORY. 

containing fifty different objects or ideas, arranged as 
follows: Nine numbers occupied each of the four walls 
and the floor; the side opposite the entrance represented 
the units, the right hand side the tens, the left side the 
twenties, the rear wall the thirties, and the floor the 
forties, Nos. 10, 20, 30, and 40 being placed just above 
their respective walls, and 50 in the center of the roof. 
Other apartments were added and memorized from 
time to time, as required, the symbols for each room 
being left to the judgment or fancy of the memorist. 

With the decline of civilization, which culminated 
in the destruction of the Koman empire, mnemonics dis- 
appeared entirely from view, and did not reappear until 
nearly the close of the Middle Ages. 

In the latter part of the thirteenth century Eoger 
Bacon, the learned English monk, wrote a treatise on 
the subject of Memory. It was never printed, but is pre- 
served among the manuscripts at Oxford. 

A few years later Raymond Lully, the noted Span- 
ish missionary, wrote a work on mnemonics, which, 
owing to its complicated features, does not appear to 
have obtained a very wide circulation, either then or 
in after times, although its principles have been fully 
elucidated by later writers, especially of the fourteenth 
and fifteenth centuries, most of whom made alleged 
improvements on Lully's method. 

Shortly after the invention of printing. Jacobus Pub- 
licius, a native of Florence, wrote several short articles 
on mnemonics, which were compiled into a volume con- 
taining fourteen leaves, or pages, and illustrated with 



MNEMONICS, PAST AND PRESENT. 65 

wood-cuts of a very crude character. The book was of 
little utility, however, the system which it advocated 
proving too cumbersome for practical use. Antiqua- 
rians believe this book to be the first one containing 
wood-cuts printed with movable types. 

A score of years later Peter of Cologne published 
a system, based on Publicius' method, being, like the 
former, of the "topicaF' order. At about the same time 
Conrad Celtes, a German poet of some distinction, an- 
nounced a system, also of the topical kind, but in which 
letters of the alphabet were substituted for the rooms 
or apartments used in previous systems. 

A comparatively short time after the publication of 
Celtes' method, there appeared a teacher of mnemonics 
named Petrus de Eavenna, who traveled throughout 
Italy, giving public exhibitions, and being received 
everywhere with great enthusiasm. On one occasion, 
as a test of his powers, he played a game of chess and 
at the same time dictated two letters on subjects named 
by the audience, while another person present threw 
dice, and a fourth recorded the throws. On the game 
of chess being concluded, Ravenna repeated from mem- 
ory all the moves, in their proper order, recited every 
word contained in the two letters, backwards, and told 
each throw of the dice, forward and backward. Ra- 
venna continued to teach and give public exhibitions 
in Italy for many years, and was subsequently per- 
suaded to visit Germany and France, where he like- 
wise astonished his audiences by the wonderful feats 
of memory which he performed. He published a work 

5 



66 THE ART OF MEMORY. 

on mnemonics which passed through nine or ten edi- 
tions. 

In 1533 a work on Memory was issued by a Dutch 
writer named De Krypse. The topical method was used 
as a basis, several innovations being introduced and 
the whole profusely illustrated with curious wood-cuts. 

In the latter part of the sixteentli century Thomas 
Watson, an English poet, published a treatise on mne- 
monics, based also on the topical system, but a capacious 
wall being used, instead of one or more rooms of a 
house, the wall being arbitrarily divided into a large 
number of spaces, each symbolizing a particular object^ 
the various objects being classified in a designated man- 
ner. That which was to be memorized was associated 
with one or more of those objects, as under the old 
system. 

In the beginning of the seventeenth century, Lam- 
bert Schenkel, a German mnemonieian, who had culti- 
vated his memory in certain branches to a remarkable 
degree, began giving public exhibitions of his powers, 
traveling from place to place through Germany, France 
and Belgium, and teaching his system, which was re- 
ceived with great favor wherever he went. SchenkeFs 
feats consisted chiefly in repeating numbers and discon- 
nected words which were given him by his audiences, 
and also reciting sentences both for^^ard and back- 
ward. He could repeat three hundred arbitrarily-con- 
nected words, and more than two hundred sentences, 
all in the exact order in which he heard them. Schenkel 
had a remarkable career, being denounced from the 



MNEMONICS, PAST AND PRESENT. 67 

pulpits as a sorcerer and conjurer, and persecuted 
therefor, — at one time barely escaping the torture of 
the Inquisition on account of those accusations. He 
wrote a book on mnemonics, the publication of which he 
long found extreme difficulty in securing, but eyentu- 
ally the tide turned and Schenkel obtained from Kino- 
Henry TV, the exclusive privilege of teaching mne- 
monics all over France, a penalt}- being imposed of 
4,000 francs on any who should attempt to teach the 
art without his consent, one-third of which fines were to 
be turned over to Schenkel himself. He guarded the 
secret of his system very jealously, exacting an oath of 
secrecy from all his pupils; but the demands for instruc- 
tion became so numerous that he was unable to attend 
to them all, and so he commissioned one of his pupils, 
named Martin Sommer, to teach the system, a certain 
portion of his earnings to be turned over to Schenkel. 
Sommer, however, broke the compact, and in 1619 pub- 
lished, in two pamphlets, the secrets of Schenkel's sys- 
tem, the which later writers have examined and pro- 
nounced simply an elaboration of the ancient topical 
system. 

In 1618 one John Willis published a mnemonical 
system containing a number of novel and original fea- 
tures. He gave rules for memorizing the ordinary 
affairs of every-day life, then for words, phrases and 
sentences, and finally for long discourses— progressing 
by easy stages from one to the other; this was accom- 
plished by means of brief memorandums made accord- 
ing to certain rules. Further on in his work he taught 



68 THE ART OF MEMORY. 

how to memorize anything seen, heard or read, without 
recourse to notes; one of the means employed being to 
propose a series of twenty-two questions, which were 
to be applied to the subjects to be memorized. In an- 
other portion of his book he used the antiquated topical 
system as a basis, taking an imaginary house of two 
rooms, and placing therein symbolic objects, repre- 
sented by colors, as follows: Black, white, blue, red, 
gold, silver, purple, yellow, green, cinnamon — ten in all. 

In 1648 one Stanislaus Winckelmann issued a treat- 
ise on mnemonics, employing the pictorial system of the 
ancients for the usual purposes, but in addition he de- 
vised what is believed to be the first ^^figure alphabet'' 
— a means of memorizing numerals by causing each 
of the digits to represent certain consonants, using the 
vowels in connection therevv^ith to form words, which 
are to be memorized, thus preserving the figures in 
their proper order. 

In view of the fact that nearly all of the memory 
systems which have been promulgated since Winckel- 
mann's time have bad the fig2ire alphabet as their basis, 
a glance at the key which he used may not be amiss, 
and the same is here reproduced: 



1 


2 3 4 


5 


6 


7 


8 


9 





B 


C F G 


I. 


M 


N 


E 


S 


T 


P 


K V 














W 


Z 















Each figure is thus represented by one or more con- 
sonants, the vow^els and the aspirate H being used in- 



MNEMONICS, PAST AND PRESENT. 69 

discriminately in connection with tlie consonants to 
form words or sentences; by the latter being memo- 
rized, a translation of the original number can be made 
w^henever desired. Thus BiG EaT would denote 1480; 
PaLe WiNe, 1517; PaiNTS, 1709; BaRReL, 1885; PuR- 
SeR, 1898 — and so on. 

In the latter half of the seventeenth century Leib- 
nitz, the great German philosopher, also wrote on the 
subject of mnemonics, the chief portion of his treatise 
being devoted to an elucidation of his theories regard- 
ing the memorizing of numbers, and especially those 
of chronology. He made some improvement on Winck- 
elmann's figure alphabet, but beyond that originated 
nothing of especial value. 

In 1730 Dr. Richard Grey published a work entitled 
"Memoria Technica," designed chiefly to assist the 
memorizing of historical dates. This is the first known 
English work in which syllables are used to express 
figures. He invented a figure alphabet which was quite 
different from those of Winckelmann and Leibnitz, each 
of the numerals representing only one consonant. The 
following is Dr. Grey's key, either the upper or lower 
letter or combination being used at will: 



a 


e 


1 





u 


an 


01 


ei 


ou 


y 


1 


2 


3 


4 


5 


6 


7 


8 


9 





b 


d 


t 


f 


1 


s 


P 


k 


n 


z 



A word or phrase was constructed out of the date 
to be memorized, to which was prefixed the first sylla- 
ble of the most conspicuous word denoting the event. 



70 THE ART OF MEMORY, 

Thus, SHAKE also (the two words) would signify that 
Shakespeare was born in 1564; WASHapie, that Wash- 
ington was born in 1732; 'ROBapan, that Robinson Cru- 
soe was published in 1719; COUone, that Columbus 
discovered America in 1492; PRINT a fit, that printing 
was invented in 1433 — and so on. The number of dates 
which it is possible to construct by means of Dr. Grey's 
key is, however, very limited, as about half of the con- 
sonants are excluded, and, instead of the vowels being 
used ad Uhitiim, as by Winckelmann's method, each 
vowel is restricted to represent only one numeral, which 
so limits the vocabulary that but a comparatively few 
dates can be indicated. 

One of the most successful teachers of mnemonics 
during the past hundred years was Gregor von Fein- 
aigle, a native of Baden, who, in 1807, visited Paris and 
there lectured and taught his system with great success. 
Thence he proceeded to various other cities in France, 
and afterwards to Germany, devoting his entire time 
to lecturing and teaching, and being most favorably 
received wherever he went. In 1811 he visited Eng- 
land, where his abilities were also promptly recognized, 
and where he taught his system extensively. Feinaigle, 
like Schenkel and others of his predecessors, made a 
great secret of his system, and exacted the most solemn 
pledges from his pupils not to reveal the same or any 
portion thereof, within a certain period, without first 
obtaining his express permission. One of his disciples, 
however, whom he had authorized to teach his method 
in certain parts of Germany, betrayed his master's con- 



MNEMONICS, PAST AND PRESENT. 71 

:fi(ience, and, during the same year that Feinaigle ap- 
peared in England, published a voluminous work on 
the subject of mnemonics, extending to nearly five hun- 
dred pages, in which Feinaigie's system was divulged 
in all its details and also were set forth the essential 
features of the previous mnemonical systems of any ma- 
terial value. Feinaigle adopted a figure alphabet of his 
own for memorizing numbers, and used the topical meth- 
od as a basis for recollecting facts and events. He ap- 
plied his system to a wide range of subjects, among the 
principal of which were the teaching of history, of 
geography, and of languages — the memorizing of prose 
and poetry being also an important feature. 

In 1823 M. Aime Paris, a Frenchman, published a 
work on mnemonics, in which he discarded almost en- 
tirely the topical system, which had been used so gener- 
ally in former times, and made an important improve- 
ment to Feinaigle's figure alphabet which greatly facili- 
tated the forming of fitting words to represent num- 
bers. A phrase or sentence was constructed embodying 
that which was to be memorized, the last word of 
which indicated the date. The chief portion of Paris^ 
book was devoted to giving rules and illustrations for 
the memorizing of numbers, especially historical dates. 
Paris taught his system throughout France for many 
years, with great success. 

In about 1840, Major Beniowski, a Pole, who had 
been a student of Aime Paris, located in London and 
began teaching mnemonics, and within the next couple 
of years published two small pamphlets on the subject. 



72 THE ART OF MEMORY. 

He claimed to have made certain important discoveries 
in the phenomena of memory, and probably originated 
the ideas from which were subsequently developed the 
"intermediate'' or "correlation'' theory, used by various 
teachers of mnemonics. 

In 1843 Carl Otto, a Danish mnemonician, traveled 
in Germany, teaching his art, and published in the 
same year a treatise on mnemonics. His method w^as a 
simplification of that of Aime Paris, but did not di- 
verge materially from the general plan adopted by that 
mnemonician. 

In 1845 Francis Fauvel Gouraud, of the University 
of France, published in New York and London a work 
on mnemonics, which received wide attention at the 
time. The system was based largely on that of Aime 
Paris, but claimed many original features. It was toO' 
cumbersome, however, to be of practical benefit, and, 
although extensively advertised, failed to secure popu- 
lar recognition. 

In the same year an American named Pliny Miles 
published a system based on that of Aime Paris, but 
introducing certain features that were entirely new. 
He originated the idea of memorizing difficult or un- 
known words by using well known words or phrases 
whose sounds correspond very nearly with those of the 
words to be memorized. Thus, the battle of Marengo 
would be suggested by "Marry and go;" Manitoba, by 
"Man at a bar;" Borodino, by "Borrow a dinner;" Sas- 
katchewan, by "Sis catch a swan;" Keconnoitre, by 
"Reach an oyster!" etc. The chief feature, however, 



MNEMONICS, PAST AND PRESENT. 73 

that Miles originated was the substitution of what he 
termed ^^nomenclature tables'' for the topical method. 
He arranged a series of words from 1 to 100, each word 
representing a particular number. This list was to be 
thoroughly committed to memory, so that the mention 
of a word would instantly suggest its corresponding 
number, and facts or dates could be associated with 
those words as desired. Miles applied his principles 
to a list of historical personages, giving their ages and 
dates of death; also to quite a number of other subjects 
requiring the use of figures. 

Dr. Hermann Kothe, a German teacher of mnemon- 
ics, published, in 1848, an able work on Memory, and 
was the first mnemonician who is known to have devel- 
oped the system afterwards copied and elaborated by 
Pick, Loisette, and others, of connecting words of dis- 
similar import by means of intermediates, or "correla- 
tions;" thus the words "chimney" and "leaf" would be 
connected as follows : "Chimney — smoke — wood — tree 
— leaf." "Pillow" and "ink" would be connected thus: 
"Pillow — feather — quill — pen — ink." 

William Stokes, a celebrated English mnemonician, 
published in London, in 1865, a book on Memory, which 
has had a remarkably successful sale. It is based 
largely on the system of Miles. He has also published 
numerous other books and pamphlets, designed as aids 
to the memory. 

At about the «ame time Dr. Edward Pick published 
in London an interesting and valuable work on mne- 
monics, in which he went exhaustively into the prin- 



74 THE ART OF MEMORY. 

ciples of Memory, as interpreted by him, insisting, 
among other things, that no more than two ideas shonld 
be considered by the mind at the same time. His sys- 
tem was based on that of Carl Otto's, whose pupil he 
had once been, and he also elaborated Dr. Kothe's the- 
ory of using intermediates to connect dissimilar words. 
Lyon Williams, in 1866, George Crowther, in 1870, 
and F. Appleby, Charles Hartley, and J. M. Granville, 
in 1880, published works on Memory, all possessing 
meritorious features; and during about the same 
time John Sambrook of England elaborated Gouraud's 
method of memorizing figures by using words the 
sounds of whose vowels corresponded with those in the 
numerals, with the exception that the long sound of "I'' 
was appropriated to "five'' and the short sound of that 
letter given to "nine." Mr. Sambrook noticed that, 
with these exceptions, the numerals from 1 to 10 each 
had a different sound, and with this fact as a basis he 
•constructed a mnemonical system of great originality. 
The following will illustrate his method of applying 
well known words to the sounds of the various nu- 
merals : Gun, tooth, tree, floor, hive, stick, sexton, gate, 
tin. 

In 1882 A. E. Middleton published, in London, a little 
book of some merit as a compilation, at least, entitled 
"Memory Aids, and How to Use Them;" and in 1885 
another interesting book, entitled "All About Mne- 
monics," which was revised and enlarged in 1888, un- 
der the title "Memory Systems." The latter book gives 
a list of the various mnemonical systems of any note 



MNEMONICS, PAST AND PRESENT. 75 

that have appeared since 1325, and gives a mnemonical 
table of 100 words, vi^ith which to associate facts in his- 
tory; it also includes hints for retaining geographical 
facts, cultivating musical memory, committing prose 
and poetry, learning languages, lecturing and report- 
ing without notes, and performing various mnemonical 
feats. 

In about 1884, Ambrose Loisette, an American 
teacher of mnemonics, visited London, and there began 
teaching his system. In 1886 he located in New York, 
and soon afterwards began teaching, charging a good, 
liberal fee for the course of lessons and requiring each 
student to sign a bond for |500 that he would not dis- 
close the system or any part of it. Loisette's method 
is based on the Kothe system of using ^intermediates'' 
to link together disconnected words, and he copies 
the figure alphabet of Miles almost exactly, to trans- 
late numbers into words. He also gives rules for al- 
most all other sorts of memorizing. His book is 
called "Physiological Memory, or the Instantaneous 
Art of Never Forgetting,'' and is divided into six 
parts, Nos. I. and II. being termed "Kecollective An- 
alysis," No. III. "Eecollective Synthesis," No. IV. 
"Predicating Correlation," No. V. "Instantaneous Gor- 
dian Knot," No. YI. "Certainty of Never Forgetting." 

In the same year (1886) appeared a book by M. L. 
Holbrook, entitled "How to Strengthen the Memory," 
which makes no pretensions to being a memory system^ 
but contains much useful advice to memory students. 

Prof. Asa S. Boyd, of Baltimore, a teacher of mne- 



76 THE ART OF MEMORY. 

monies, published also in 1886, a book entitled "Modern 
Mnemotechny/' the same being an elaboration of Plinj 
Miles' system of translating figures into words. 

The year 1888 saw several books on Memory pub- 
lished. The principal ones were: "Natural Method of 
Memorizing and Memory Training," by Prof. W. W. 
White, of New Haven, Conn.; "Memory and Its Doe- 
tors," by Dr. Edward Piek, and "Memory; What It Is, 
and How to Improve It," by David Kay. The latter is 
not what might be termed a "system," in a teehnieal 
sense, but is eomprehensive, and written with marked 
ability. 

In the same year, John A. Shedd, of New York, pub- 
lished a Memory system, ealled "The Education of the 
Memory." His method of memorizing numbers is to 
construct a phrase or sentence, the number of letters in 
each word corresponding with the figure to be mem- 
orized. Thus, Eome was burned by Nero in the year 64: 
that fact would be indicated by the phrase, Burned 
Rome. In 1544 occurred the birth of Tasso: the recall- 
ing of that date and the event which it commemorates 
would be accomplished by memorizing the sentence, A 
great poet horn. To recollect the date when the great 
historian, Gibbon, was born (1737), it is only necessary 
to keep in mind the following: A history was written. 
1769 signifies the birth of Napoleon : that would be re- 
called by the sentence, A strange, mighty conqueror. 
And if we imagine Napoleon to have afterwards used 
the expression, "A Waterloo I found,'' we would thereby 
be reminded of 1815, and what it meant! A renoioned 



MNEMONICS, PAST AND PRESENT. 77 

man died, would indicate the year of Lafayette's death 
(1834); as would A literary genius risen suggest the year 
of Kipling's birth (1865). The main feature of Shedd's 
system is the memorizing of historical dates in that 
way. In 1890 Shedd published a pamphlet entitled 
"How to Eemember/' which contains some features of 
interest, but does not pretend to elucidate any addi- 
tional system. 

In 1890-91 James P. Downs, of New York, iDublished 
a series of six pamphlets on Memory, containing much 
that is original and useful. These pamphlets bear the 
following titles: 

I. The Mastery of Memorizing; 
11. Quickness of Perception; 

III. Eye and Ear Memory; 

IV. The Study of Languages; 
V. Memory and Thought; 

YI. Memory Training of the Young. 

In 1893 a book on mnemonics, entitled "Memoranda 
Mnemonica," by James Copner, was published in Lon- 
don. In this book historical facts, numbers and mis- 
cellaneous information are symbolized by doggerel 
rhymes, the system being similar in this respect to that 
taught by Stokes. 

The foregoing is a condensed narration of such facts 
in the history of mnemonics as the writer has deemed 
worthy of mention, covering from the time of Simon- 
ides, twenty-four centuries ago, down to the present 
day, and giving especial attention to the period that 
has elapsed since the revival of learning. In such nar- 



78 THE ART OF MEMORY. 

ration, the names of all writers on mnemonics have 
been given whom the writer believes to have contribu- 
ted original, suggestive, or interesting features to the 
study of the science. 

Hundreds of treatises of little or no value have been 
written on that, as on other sciences, whose authors^ 
names even can scarcely be discovered, though search 
be made through all the nooks and crannies of bibli- 
ography. Such writings it would have been superflu- 
ous to mention, as well as others, of some slight literary 
merit, perhaps, but whose alleged mnemonic methods 
have either contained too little originality or been too 
complex to be of utility. 

And with all the copious writing on mnemonics that 
has been indulged in during the past half dozen cen- 
turies, what work can be pointed out as standard au- 
thority on the subject? What psychologist, what de- 
votee of Mnemosyne can establish a well grounded 
claim that he has discovered the veritable secret of how 
to train the memory so that it may attain its highest 
powers consistent wdth being an efficient aid to the best 
development of the mind? 

Nearly two generations ago Isaac Pitman invented 
Phonography, and published a book expounding the 
]3rinciples which he had established. To-day his sys- 
tem is probably in more general use than all others 
combined; no one has yet seemed able to devise a 
method which is its acknowledged superior. 

Musical counterpoint had reached as high a state of 
development a century and a half ago as it has ever 



MNEMONICS, PAST AND PRESENT. 79' 

attained since that time; and the sublime symphonies 
of Beethoven, the incomparable fugues of Bach, and 
the inspiring oratorios of Handel, have never been 
eclipsed by succeeding generations, and stand to-day 
as master-pieces of genius, and are likely to occupy that 
proud position through all future time. 

Euclid, sometimes called the "Father of Mathemat- 
ics,'' wrote his "Elements of Geometry'' more than 
twenty centuries ago; his geometrical demonstrations 
are still used in our best institutions of learning to a far 
greater extent than those of any other mathematician. 

But what can be said of the writers on mnemonics? 
Who ever hears, now-a-days, of those mnemonicians so 
celebrated in their day, as Ravenna, Schenkel and 
Winckelmann? What has become of the once lauded 
Memory systems of Feinaigie and Aime Paris? And 
who would think of poring over the ponderous volume 
of Gouraud (even if one could readily find a copy!) in 
order to learn how best to cultivate the memory? Why 
is it that out of the hundreds of treatises on mnemonics 
that have appeared in the past, not one (with the ex- 
ception of a few of the comparatively recent works) 
may be said to have survived? 

Can it be that the true principles of mnemonics had 
never been discovered? that after all the years, and the 
decades, and the centuries of thought Vv^hich had been 
devoted to investigating the processes of the memory, 
and originating and elaborating theories regarding the 
proper method for its development, the real key-note 
had not been sounded, and no rational plan devised for 



80 THE ART OF MEMORY. 

educating the memory to its best capabilities — not to 
be the master, but the servant, of the mind? Can it be 
that the hypotheses advanced by mnemonical teachers 
of the past have been built on too insecure a founda- 
tion, and the machinery employed in their application 
too complex and cumbersome to render the systems of 
practical benefit? Let us investigate: 

Although the topical system, so extensively used in 
olden times, is now practically obsolete (and very prop- 
erly so), yet during the age in which it prevailed that 
system was no doubt the most feasible one that could 
well have been devised. In those days there were not 
the multifarious demands upon the memory that exist 
at the present time. The known world was condensed 
into a comparatively narrow compass, so that all geo- 
graphical knowledge then possible of attainment was 
extremely limited. Science, properly speaking, had not 
been born. There was no geology nor botany, no zo- 
ology nor ornithology; it was astrology instead of as- 
tronomy, and alchemy instead of chemistry. It was 
an age of superstition; mythology dominated over all 
else in its influence on the feelings and actions of men. 

Human history, in the knowledge of the ancients, 
had scarce begun; and as chronology had not then been 
established upon a uniform basis, the memorizing of 
historical dates was not of sufficient importance to re- 
c^uire serious consideration in mnemonics — and there- 
fore a feature which occupies such a prominent place 
in modern systems was then of but small consideration. 

Education was thus confined to but a few branches, 



MNEMONICS, PAST AND PRESENT. 81 

and the most advanced thought of the age was ab- 
sorbed mainly in philosophy, oratory, lyric poetry, 
drama and the arts — war being regarded as the great- 
est of all the arts, with perhaps architecture second, 
and painting third. 

As men of learning in that age were comparatively 
few in number, the art of i3rinting yet undiscovered, 
and the material used for writing purposes extremely 
costly, it is evident that books could be produced only 
Tvith great labor and at considerable expense. The 
ownership of a book was considered by its proprietor 
as equivalent to the possession of at least a small for- 
tune, and the volume was guarded as jealously as the 
miser hugs his secret hoard. Therefore, such knowl- 
edge as was published through the medium of books 
was disseminated almost entirely by means of oral 
transmission — its retention by the hearer being se- 
cured through conversations about it, and one or more 
repetitions of the matter usually. 

The chief things, then, which the people of those 
days found it necessary or desirable to retain in the 
memory were whatever of interest or value there might 
be in books which was within their scope of compre- 
hension, together with what might develop from time 
to time in the incidental affairs of life — for the preser- 
vation of which a pictorial system of mnemonics was 
undoubtedly the best suited, its adoption being greatly 
encouraged by the peculiar suggestiveness of the myth- 
ological teachings of the age. 



82 THE AKT OF MEMORY. 

Let us now pass over the many centuries which, to 
almost the time of our own generation, intervened since 
Kome was in the midst of her material and intellectual 
glories, and during which vast period mnemonics made 
but little divergence (except crude forms of the figure 
alphabet) from the main features of the ancient system,, 
and let us proceed to investigate, in a brief way, some 
of the theories advanced in mnemonical systems of the 
present age. 

The most significant improvement which followed 
the primitive topical system, so infeasible and cum- 
brous in the present age, was the invention of the figitre 
alpliahet, now much improved, which was designed for 
the translation of figures into words, and is used chiefly 
for the memorizing of historical dates. That alphabet, 
as now constructed^ is so vast an improvement over the 
undeveloped forms in which it formerly existed as to 
render comparison almost an absurdity. At first there 
seemed an entire lack of method in the arrangement of 
the alphabet; now, there is a reason why each letter 
used is made to represent some particular numeral; 
there is some peculiarity of resemblance in either form 
or sound that greatly assists the retention of the al- 
phabet in the memory — thus facilitating the transla- 
tion of figures into words, and vice versa. 

The alphabet here given is, with some modifications, 
the same as that used half a century ago; it is as fol- 
lows: 






1 


c (soft) 


1 


s 




z 




5 


6 


f 


b 


V 


P 



MNEMONICS, PAST AND PRESENT. 83 

2 3.4 

n m r 



7 


8 


9 


t 

th 

d 


g (soft) 

J 
ch 


c (hard) 
g (hard] 
k 




sh 


q 



The theory on which the figure alphabet is thus ar- 
ranged is as follows: 

is represented by c (soft), s and z. The letter c is 
the first letter of "cipher;'' z is the first letter of "zero;" 
s has the same sound as c (soft), and all three are cog- 
nates; that is, they are formed by the same organs of 
speech, without a change in the position thereof. 1 is 
represented by /, which it closely resembles in appear- 
ance; 2 by n, which has two stems, or downward 
strokes; and 3 by m, which has three stems. 4 is indi- 
cated by r, which is the last letter of the word "four,'' 
in several languages. Z, m, n, and r can also be thought 
of as the liquids, representing the first four numerals. 

5 is represented by / and v, which are cognates, and 
both of which letters are in the word "five," being the 
only consonants therein; v is also the Eoman numeral. 

6 is indicated by &, which resembles it in appearance; 
and its cognate p is a & inverted. 7 looks somewhat 
like a capital T, written; / is also the last letter of 
"seven," in French {sept), and d is a cognate of t; and 



84 THE ART OF MEMORY. 

to these is added lli. 8 is resembled by g more closely 
than by any other letter; / has the same sound as g 
(soft), and to these cli and sli are added, whose sounds 
do not materially differ from the others. A written 
9 and a q look almost alike; k and c (hard) are cog- 
nates of q, and g (hard) more nearly resembles Ic in 
sound than it does any other letter. A digraph, ng, 
is also added, to be used as a syllabic terminal only; in 
other cases those letters count as two figures; thus, in 
"mornin(/" it would be 9; in "a^?^eP' it would be 28; in 
"a/?<7le'' it would be 29. 

It will be noticed that the numerals are represented 
only b}^ consonants, the vowels (in which are included 
ID and 7/, as also //, except in the digraphs indicated), 
having no value as numerals, but being used at will, in 
connection with the consonants, to form words. X is 
omitted from the list entirely, as it is used so infre- 
quently and is really a combination of two consonants, 
— h and s; it has, too, when at the beginning of a word, 
a different sound — that of z; it can be used, therefore, 
only to represent the number 90 [Us). The only case 
in which li acts to alter the value of a consonant is 
when used as a part of cli or sh. 

The following rules are to be observed : 

1. In the translation of words into figures it is the 
phonetic value only that is considered; the sound gov- 
erns, instead of the spelling; thus, "laugh" would be 
15; "phrase'' would be 540; "trophy'' would be 745. 

2. Silent letters have no value; thus "p/itMsic" 
would be 709; "pneumatic" would be 2379; "plou(/7^" 
w^ould be 61. 



MNEMONICS, PAST AND PRESENT. 85 

3. Doubled or repeated consonants count as only 
one figure: "rill/^ for instance, being 41, instead of 411; 
"mufe,'' 35 and not 355; "Llama,'' 13 instead of 113. 

4. Either c (soft) s or z, when it is the first letter of 
a word or sentence denoting a number, is disregarded 
in integral numbers, the prefixed cipher being useless; 
thus, "century'' would be 274; "siren" would be 42; 
"zebra" would be 64. In all cases, however, it counts 
asO: thus, "select sermon" would be 1970432; "zealous 
citizen" would be 100702. 

5. S, when added to a word, to form the possessive 
case, has no value; thus "John's hand" would be 8227; 
"bird's nests" would be 6472070. 

The following will illustrate the translation of fig- 
ures into words : 



Ice. 5 

Ale. 6 

Inn. . 7 

Home. 8 

War. 9 



Foe. 
Bee. 
Tea. 
Jew. 
Key. 



The vital objection to the figure alphabet as a me- 
dium by which numbers with the facts or events to 
which they relate may be memorized, is that there is 
so seldom any reciprocal suggestiveness between that 
to which a number may be intended to refer and the 
word or sentence into which the number may be trans- 
lated; and, unless there is some direct relation or con- 
trast, some similarity or oppositeness of appearance 
or quality — in short, some association not too obscure, 
by which the remembrance of one will be pretty apt 



Sa THE ART OF MEMORY. 

to recall to mind the other — the method cannot but 
be of little utility, even though there has been not a 
little ingenuity displayed in its construction. And 
that this vital defect exists may be amply demon- 
strated by a few illustrations: for instance, Marius, 
the great Eoman general, was born in 155 B. C. Out 
of these figures about the best that can be done is to 
form the phrase "Leave-off;" what relation that phrase 
bears to the distinguished Roman it is difficult to per- 
ceive! 

Again: The year 562 B. C. represents the occa- 
sion of comedy being first exhibited — and it was also 
the year in whic'h Anacreon was born. "Fabian" 
seems to be the only word that can be constructed 
out of the date mentioned — and again we seek in vain 
for some suggestive comparison. 

King Canute was born in 995. "Gay calf" can be 
constructed out of the figures forming that date, but 
the relation between that animal and the Danish con- 
queror is not easy to determine. 

In 653 the Colossus of Rhodes is reputed to have 
been destroyed. "Befoam" is the only word that can 
be tortured out of those particular figures! 

Here we have a few more illustrations : 

The Franciscan Order was founded in 1209. Elimi- 
nating the "1" when the date is above 1000, and we 
have 209, out of which we are able to construct the 
word "nosegay." Paracelsus was born in 1493; the 
only mnemotechnic word is "Requiem." Benjamin 
Franklin's birth occurred in 1706; "Disobey" is the 



MNEMONICS, PAST AND PRESENT. 87 

best we can do with that date. We are able to form 
only the word "Damage'' out of 1738, the year of 
HerschePs birth, and only the word "Defame" out of 
1753, the year in which the British Museum was found- 
ed. The Moscow Uniyersity was founded in 1755; 
"Wood-fife" is the key word to that event! The battle 
of Jena was fought in 1806: that date must be indi- 
cated by "Joyous boy," and "Shelf" must be relied 
upon to remind us of Waterloo and 1815! Victoria 
was crowned Queen of England in 1837; the word 
"Ashamed" can hardly be supposed to readily remind 
us of that event. Alexandria was founded in 332 B. C. ; 
^^Mammon" is the only word that can be formed from 
that number. 

Many other illustrations of a similar character 
might easily be given, but the above will suffice to 
clearly show how impracticable the figure alpliahet is 
as an aid to the memorizing of historical dates; and 
as the number of figures is increased, so is the difficulty 
augmented of constructing words and sentences to 
correspond with them. In the case of some numbers 
the vocabulary is but a brief one, and even then the 
words are in large proportion such as are far from 
familiar to the average individual. 

After all, but one sensible conclusion can well be 
arrived at concerning the figure alpliahet as a medium 
for memorizing dates — or indeed numbers having any 
significance whatever; it is admittedly ingenious, but 
it is of small efficiency in practice — and the wonder 
is that such a considerable number of mnemonicians 



88 THE ART OF MEMORY. 

have been so wofully deceived by its allurements. 
At first its plan seems a very fascinating theory — but 
when the attempt is made to put it into practice, the 
machinery is soon found to be seriously defective, and 
the method is finally abandoned in despair. 

If an historical date could be easily and certainly 
translated into a word or phrase which would be in 
some way suggestive of the event to be memorized, 
it would be a most wonderful discovery, and consti- 
tute an enduring principle of mnemonics which could 
not but be of incalculable value to all true votaries 
of the mnemonical art. But, unfortunately for the 
cause of mnemonics, it so happens that the date of an 
historical occurrence can rarely be translated into a 
word or expression which has any sort of legitimate 
relation to the event which is to be memorized; and, 
even if an association between the two ideas could 
be formed, there is little doubt that the effort involved 
in the construction of words out of letters in the figw^e 
alphahety and associating the same in some way with 
the event to be memorized, would uniformly be much 
more arduous than that required to memorize the date 
by pure force of will — the association itself, in a large 
majority of cases, being, of necessity, purely arbitrary 
and artificial. 

If an historical event could usually be satisfactorily 
indicated by a common, instead of a proper, noun, il: 
might then be possible generally to construct, out of 
the letters in the figure alphabet representing the date 
of the event, an adjective or verb, or both, which would 



MNEMONICS, PAST AND PRESENT. 89 

indicate some suggestive quality or action of the noun 
denoting the occurrence; but most historical events 
are best indicated by proper, instead of common, nouns. 
The name of the place where a famous battle took place, 
that of the victorious commander, is what must gen- 
erally be relied upon to impress the event upon the 
memory; and any other historical event is also best 
recalled in a similar manner. There are, of course, 
exceptions to this rule, but they are comparatively 
few. 

A proper noun cannot be in most instances dis- 
tinguishably qualified; nor can there usually be at- 
tributed to it with reference to a particular event any 
suggestive action — and thus ordinarily no natural 
mnemonical association can be formed between the 
proper noun and any other part of speech; and if the 
association be not a natural one, it cannot well be 
permanent in the memory. 

It thus becomes evident that the -figure alpliahet, as 
ven a moderately reliable exjjedient for the mem- 
orizing of historical dates, is practically without 
merit; the process is too cumbersome, is too uncertain 
in application, and, as is sufficiently demonstrated by 
what we have herein said, it is not based on intrinsic 
mnemonical principles; and all such being the case 
the conclusion is necessarily involved that the sys- 
tem is a hindrance rather than a help. 

The method of memorizing an historical date by 
constructing a sentence, each word of which shall con- 
tain the requisite number of letters to unite with the 



90 THE ART OF MEMORY. 

other words in forming the date, and then mentally 
associating this sentence with the event, is even more 
impractical than the 'figure alphabet plan. In the first 
place, as each w^ord, by that plan, represents but one 
figure, no less than three words, instead of one or two, 
are required to form a sentence in the case of a large 
majority of historical dates. Unless at least one of 
those words is made to represent an action or quality, 
a sentence cannot be constructed; and the word or 
words is very liable to have one or more synonyms, 
not one of them probably containing the same number 
of letters as the word selected. On attempting to 
recall this sentence at some time in the future there 
is no certainty that some one of those synonyms would 
not come into the mind instead of the word originally 
chosen, and thus a serioTis error would be made in 
the date. Thus, the phrase, "A grand, luminous star," 
might be originally chosen to indicate the year of 
Massinger's and Selden's births (1584). On trying to 
recall the phrase at some future time, the word "clear," 
or "bright," or "radiant," or "brilliant" — each con- 
taining a different number of letters — might be thought 
of, instead of "luminous;" as might also, instead of 
"grand," some longer or shorter synonym thereof, thus 
bringing the event into even a wrong century! 

In the next place, as there are comparatively few 
cases in which the form of a sentence cannot be altered 
so that the order of the words will be different, how 
natural it would be in trying to recollect a date once 
memorized to sometimes reproduce the words of a 



MNEMONICS, PAST AND PRESENT. 91 

sentence in a different order from that formerly em- 
ployed — especially if the sentence as reconstructed hap- 
pens to be the more grammatical of the two. 

Then, too, comes the further difficulty of memor- 
izing parts of speech other than common nouns — for 
the latter, representing better than those others ideas 
readily apprehensible, are the most easily retained in 
the memory. 

Another difficulty which must be frequently expe- 
rienced, is that of constructing sentences sufficiently 
suggestive of their corresponding events that on any 
sentence being recalled the mind w^ill readily associate 
the same with the event which it represents. This 
difficulty may be appreciated by reference to a few 
illustrations taken at random. Thus, "Dramas in ink" 
indicates the year when Shakespeare's works were first 
published (1623); "Combats seven cycles," means the 
year when the Seven Years War began (1756); "Nel- 
son's brilliant exploits," is made to represent 1798, 
when was fought the battle of the Nile; the battle 
of Balaklava, fought in 1854, is recalled by the sen- 
tence, "Cavalry's fatal ride;" "General insults gen- 
eral," is supposed to bring to memory the fact that 
Burgoyne's surrender at Saratoga occurred in 1777; 
"Lightning no flint-lock," that friction matches were 
invented in 1829; and "Distinct distant voices," that 
the telephone was invented in 1876! 

Add to the foregoing objections the difficulty here- 
tofore noticed, of associating in the mind the proper 
noun denoting the historical event with- any other 



92 THE ART OF MEMORY 

part of speech, and you have a system that is not only 
demonstrated to be impracticable, but absolutely ridic- 
ulous. 

And now as to the theory of connecting dissimilar 
words by the use of (so-called) "correlations" or "inter- 
mediates." It is claimed by the advocates of that 
theory that any two or more words, no matter how 
diverse in meaning- they may chance to be — or, in 
fact, whether singly they possess any meaning at all — 
may be connected by easy and natural steps, so that 
the recurrence to the memory of an^^ one of the original 
words, or any one of these steps or "correlations," 
will cause to be renewed to the recollection all of the 
remaining words, thus assuring the revival in the 
memory of the original word desired. 

This feat is accomplished by adopting any one of 
the following methods for forming "correlations" 
v/hich may seem the most suitable in each particular 
case: 

First — By Analogy; which would include words of 
similar meaning or possessing similar qualities, or 
which have properties bearing some relation to each 
other; also words resembling each other in sound, but 
different in meaning. 

Second — By Antithesis; w^hich would include words 
of opposite meaning or possessing contrary properties. 

Third — By Coincidence; which includes Avords 
neither similar in sound, nor of either similar or oppo- 
site meaning, but which the mind has instinctively 
associated, one with the other, even though there may 
be no direct relation betwen the two. 



MNEMONICS, PAST AND PRESENT. 93 

The ^'correlation'' theory seems extremely plausible 
when first presented in all its glowing colors to the 
average mind, and it is often only after a protracted 
test thereof that the memory student becomes resigned 
to relinquish the alluring idea that he is one of the 
fortunate ones who was destined to develop a phe- 
nomenal memory by the instrumentality of that sys- 
tem — a plan he had ardently welcomed as a most 
wonderful mnemonical discovery. Such a disappoint- 
ment, however, is as inevitable as it is logical, and a 
verdict of condemnation must invariably follow a fair 
trial in the case of any theory which is as sophistical 
as it is fascinating. 

It is indeed true that any word may be connected, 
after a fashion, with any other word, by means of 
so-called "correlations'' — but what a lavish expense 
of time and mental drudgery is frequently necessary 
in order to accomplish the task! 

The process is a slow and painful one, at best; and 
its utter artificiality, instead of stimulating, cannot 
but tend to, in some degree, weaken the natural powders 
of the mind, if long persisted in. 

The very assumption that any two words may be 
connected by a chain of intermediate words, implies 
the necessity of conceding the utmost latitude in their 
selection, in order that the desired result may be 
brought about. Two words may easily be so vastly 
dissimilar in sound or meaning, or both, that they 
cannot be connected except in a fashion that reaches 
the utmost degree of incongruity. This is particularly 



94 TUB ART OF MEMORY. 

the case with proper nouns, which, as they usually 
possess no verbal meaning in themselves, cannot be 
^'correlated'' except by employing words to which few 
of them bear any appreciable natural relation, except 
it may be the accidental one of sound — which, of 
course, includes such words as may be brought into 
requisition through the transgression of punning, fre- 
quently in its most aggravated form. To be able, 
therefore, to form "correlations" with reasonable cer- 
tainty and dispatch it is requisite that a person be not 
only well educated and a rapid thinker, but also 
expert at punning — a talent whose cultivation can 
hardly be considered worthy of encouragement at the 
expense of other mental faculties. And, after a person 
shall have succeeded in linking two words together 
by means of "correlations," is there any assurance that 
he will be able to retain in his memory with any sort 
of permanency the various links in* the chain, as well 
as the hundreds of other "correlations" that he must 
have, or already had, occasion to invent in endeavoring 
to make a practical use of the system? In pursuing 
the system he must, of necessity, use some words or 
their synonyms more than once; and so what certainty 
is there that he will know where each one belongs 
when he desires to revive the various links in a par- 
ticular chain? 

And, assuming that all of those incidental ob- 
stacles could, by great labor, be overcome, of what 
secondary practical use is the connection of dissimilar 
words? What especial end is subserved, either in the 



MNEMONICS, PAST AND PRESENT. 95 

affairs of every-day life, or in connection with the 
tasks and pleasures of the mind and memory? Is the 
real direct gain equivalent to a tithe of the time and 
labor involved? Can there be a benefit sufficient to 
compensate for the forcing of the thoughts into un- 
natural channels, obviously antagonistic to the best 
development of the intellectual faculties, as tending 
to a habit of disjointed whimsical thinking? 

The fact is, as experience has abundantly shown, 
that the time and labor employed in inventing "corre- 
lations" and committing them to memory is vastly 
greater than that required for arbitrarily memorizing 
the desired word or idea, supplemented by occasional 
repetition (which latter would be necessary in the other 
case, also). 

The whole "correlation" theory, which at first may 
seem so plausible and fascinating, requires only a brief 
trial to cause its permanent rejection; it does not, and 
cannot, accomplish with certainty the desired object, 
and it employs means that are unnatural and not 
practical, for accomplishing that which can be done 
effectively and durably only by a process based on 
true mnemonical principles. It is a vain delusion, 
hugged at first with glowing enthusiasm, it may be, 
as a long-hoped-for discovery in mental science, but 
destined to be ultimately discarded by all as a most 
arrant imposition, deserving not the dignity to be 
considered as forming the basis of a true mnemonical 
system, but only to be treated as illustrative of w^hat 
ingenuity and perseverance may accomplish in word- 



96 THE ART OF MEMORY. 

juggling — which art, it must be admitted, is deline- 
ated by the ^^correlation" theory in the most artistic 
and thorough manner. But "the game is not worth 
the candle;'^ the theory not worth the student's "mid- 
night oil.'' As a matter of fact, for reasons already 
stated, comparatively few historical dates, at the most, 
can be reliably impressed upon the memory through 
the employment of any of the methods which have 
been described. It is only by accident, now and then, 
that a properly constructed phrase or sentence can be 
translated from the material furnished so as to be 
significant of a particular historical event and embody 
the corresponding date. Diligent experiment will show 
that in the case of a vast majority of historical dates 
there can be no significant allusion so made thereto — 
and unless that can be done, how can the dates be re- 
liably memorized by those methods? — and yet devices 
such as have been indicated are proposed in all serious- 
ness as systems by which any historical date may be 
memorized! That they are entirely impracticable as 
methods for this purpose only a brief trial will suffice to 
amply demonstrate — and when we come to consider that 
the memorizing of historical dates is, after all, only a sin- 
gle feature of memory culture, it becomes evident that 
that which constitutes but a single branch of the mne- 
monical art cannot be properly considered a system — 
for a system worthy the name should include appli- 
cability to every important class of information desired 
to be recollected. Up to the present time such a sys- 
tem has not been produced; there is no single work 



MNEMONICS, PAST AND PRESENT. 97 

that has covered the whole field of memory culture — 
and indeed which has not been silent regarding some 
of its most important branches. 

It is a curious fact that nearly every memory system 
of note has made the matter of historical dates its 
chief feature — memory development in other direc- 
tions receiving comparatively little attention. While 
it is important that the ability should be acquired of 
memorizing historical dates with facility and certainty, 
yet that is only one of the subjects which memory 
culture should embrace. As there are various lines of 
mental activity, so are there various departments of 
memory, each worthy of cultivation according to indi- 
vidual needs, and each resting upon its own peculiar 
foundation. 

7 



CHAPTER V. 



ATTENTION. 



"Memory, the daughter of Attention, is the teeming mother of 
•wisdom." T UPPER. 

"The great art of Memory is Attention." Beattie. 

"Attention is llie stuff that Memory is. made of, and Memory is 
accumulated genius." Lowell. 

"In the power of fixing the attention lies the most precious of 
the intellectual habits." Robert Hall. 

"When the ideas that offer themselves are taken notice of, andy 
as it were, registered in the memory, it is attention." Locke. 

"The permanence of the impression which anything leaves on 
the memory is proportionate to the degree of attention which \N'as 
originally given to it." Dugald Stewart. 



As Mind is erected upon the groundwork of Mem- 
ory, so the great foundation stone of Memory is Atten- 
tion. 

Attention, in its common signification, may be de- 
fined as the contemplation by the mind of any particu- 
lar thing, action, or idea, to the exclusion of all else. 

(98) 



ATTENTION. 99 

While this definition implies the exercise of the 
mental faculties in a more than ordinary measure, yet 
there are various degrees of vigor and intelligence 
with which the mind may seize upon anything pre- 
sented for its consideration — and it is the degrees 
possessed of the characteristic power referred to of 
excluding self-consciousness and concentrating the 
mental energies upon any particular object, that in 
large measure distinguish one person's intellectual ca- 
pacity from that of another. 

It can hardly be gainsaid that the ma,n who pos- 
sesses the power of complete mental absorption — of 
with fixed attention holding the object of contempla- 
tion, however intricate its composition or profound its 
depth, before the mind until its innermost meaning is 
fully grasped, has within him the real germ of genius; 
genius whose proper development may be attained 
through a judicious expenditure and husbanding of 
energies and strength which need not be more than 
ordinary — provided always that there be a favorable 
environment. And we may be sure that he who pos- 
sesses that power but partially must occupy a lesser 
position in the Avorld of intellect — which may be no 
higher than that of mediocrity, and perhaps may be 
that of inferiority to average mankind. 

But while intentness of contemplation is most 
surely essential to insure the retention in the memory 
of any image or idea which is presented to the intelli- 
gence, yet brief exercise of that faculty will not always 
suffice; if the subject be one of complex character, 



100 THE ART OF MEMORY. 

there must also exist the power to devote sufficient 
continuity of thought to its examination that its full 
import may be distinctly engraved upon the mind — and 
only through that power also in most cases will the 
knowledge become an abiding possession of the mem- 
ory. 

It is that ability to concentrate the attention upon 
a subject of thought until its deepest signification is 
fully understood, which is the essential element of the 
mental superiority by which one person achieves suc- 
cess, while another who does not possess that power 
meets with unhappy failure; for in the case of the 
former not only is there a clear apprehension of what 
is before the mind for consideration, but there are 
also unconsciously called forth such impressions on the 
same subject as have been imprinted on the memory 
at various times in the past, and with them such 
ideas as they may have suggested — all of which, roused 
quickly like a feudal organization, combine to fur- 
nish material for bringing most favorably into exer- 
cise the creative forces of the mind; while in the other 
case (that of the slackened bowstring and consequently 
of the weak, wavering arrow-flight which misses the 
mark of success), there being only a superficial under- 
standing of the subject and but an imperfect recollec- 
tion of what has at previous times been only lightly 
impressed upon the memory in the same connection, 
intellectual advancement is hedged about by most 
serious obstacles, even though the mind be one of the 
first order otherwise than in the respect indicated. 



ATTENTION. 101 

Attention, when cultivated in a sufficient degree, 
merges into Concentration, or the ability to focus the 
whole mind upon any subject with which it may under- 
take to become familiar. It is the possession of this 
power that enables the trained stenographer to cor- 
rectly report a speech, despite the distracting influ- 
ences by which he is most commonly surrounded; or 
through which the musical conductor is able to listen, 
for the time being, to any one of the various instru- 
ments in his orchestra which he desires, excluding all 
other sounds from his perception, and shifting his at- 
tention from one instrument to another at will. 

Many instances are on record of soldiers being 
wounded in battle who were wholly unaware of the 
fact until after the excitement of the conflict had sub- 
sided — their attention having been so completely en- 
grossed in the struggle as to render them oblivious to 
all physical sensation. 

Some of the most noted actors have been known to 
become so thoroughly absorbed in thrilling portions 
of favorite scenes, that they actually believed them- 
selves to be the very characters they were imperson- 
ating. In illustration of this remarkable power, there 
may be mentioned a well-attested instance of a certain 
actor who had a chronic lameness, which caused him 
not a little inconvenience, to say nothing of the suffer- 
ing that he was occasionally compelled to undergo 
during the more acute stages of his affliction. While 
before the footlights, however, the scenes in which he 
was taking part seemed so real to him that he became 



102 THE ART OF MEMORY. 

totally oblivious to his physical defect and was able to 
move about the stage with apparently as much ease as 
his fellow actors. 

It is related that Socrates, in one of the campaigns 
in which he was engaged, became, while on the march, 
so deeply engrossed in a line of philosophical inquiry 
which greatly interested him, that he began walking 
more and more slow^ly, until, finally he stopped, the 
army meanwhile passing him and at last leaving him 
standing in the highway alone, absorbed in his thoughts 
and completely lost to all sense of his person or sur- 
roundings. A courier was subsequently sent back to 
asc^ertain what had become of the great philosopher, 
who was found standing in the same spot, gazing in- 
tently on the ground and so profoundly absorbed in 
reflection that he was with difficulty aroused from his 
abstraction, and he then could hardly be made to 
realize that the army was more than a score of miles in 
advance, and that he had gone without food and sleep 
for a day and a night. 

Inventors often become so thoroughly engrossed 
by their investigations that the hours glide by almost 
unperceived. Edison has been known to attain such 
complete absorption in an experiment that he would 
remain occupied for twenty-four hours at a time, 
wholly unaware that more than a brief period had 
elapsed. 

It is this capacity for acute and prolonged attention 
that enabled a Champollion to penetrate the secret of 
the hieroglyphic inscriptions on the monuments of 



ATTENTION. 103 

ancient Egypt, and restore to the world a long perished 
language through the meagre clue of the Rosetta stone; 
that enabled an Agassiz to unfold the wonderful story 
of Earth's vicissitudes, as told by the rocks, and an 
Audubon to familiarize himself with the whole world 
of ornithology; that made it possible for a Euler, sit- 
ting alone in his prison cell, to mentally solve the most 
abstruse mathematical problems, or a Humboldt to 
penetrate the profoundest depths of cosmic evidences. 
It is through possessing this power of intense and 
continued attention and application that a Cuvier is 
able to hold within his mental grasp the whole history 
of the fossil world, and the colossal mind of a Shake- 
speare to fathom the ocean of man's past thought and 
experience and gather from its profound depths the 
choicest gems that ever were inclosed within the magic 
setting of language, to grace the precious diadem of 
literature. 

"Genius is nothing but prolonged attention," says 
Helvetius. 

While that definition may be lacking in complete- 
ness, yet surely it cannot but be admitted that Atten- 
tion is the seed of Genius. The tree cannot grow ex- 
cept there first be the germ ; without Attention there 
cannot be Memory, and w^ithout Memory Knowledge 
cannot develop^ — much less can there come into ex- 
istence that rare and w^onderful faculty which we call 
Genius. 

As Attention is so highly essential to the develop- 
ment of a good memory, it thus follow^s as a logical 



104 THE ART OF MEMORY. 

deduction that a defective memory is mainly due to 
the lach of attention. 

The verity of that deduction is especially manifest 
in the case of the first presentation of an idea to the 
senses. As a general rule the first impression of any- 
thing is the most enduring in the memory, and nat- 
urally, for at that time most usually the curiosity is 
more deeply aroused than on any occasion afterwards 
— and curiosity begets animation ; the impression made 
at that time, therefore, is apt to be much more vivid 
than when the idea presented to the mind has lost, in 
a sense, its newness, or novelty. 

It may indeed be set down as a general rule that 
the distinctness and permanence with which an idea or 
fact is retained in the memory is in direct proportion 
to the vividness of the first impression. 

Each succeeding time that an object of thought is 
contemplated by the mind, the impression produced 
thereon is naturally less strong than the preceding 
one — except, perchance, in cases wherein some special 
emotion is excited or where by the intervention of the 
will an added measure of attention may be compelled, 
which of course is not spontaneous. A vivid first im- 
pression is therefore essential to best secure the re- 
tention of anything in the memory, and the strictest 
attention is necessary for the creation of a vivid first 
impression. 

Attention properly cultivated eventually becomes 
a habit, and having once reached a fair degree of de- 
velopment, it then operates in great measure instinct- 



ATTENTION. 105 

ively, or unconsciously, just as any other habit — and 
thus that kind of task which may at first have been 
achieved only by severe and protracted effort will ulti- 
mately be accomplished with ease and dispatch, and 
with a greater degree of excellence ; for then when the 
mind becomes engaged in the contemplation of any 
subject, substantially no effort will be required to 
cause every other subject to be excluded from the men- 
tal vision, as the mind will do that of itself, without 
spurring and well-nigh spontaneously, and do it expe- 
ditiously also. 

Attention, then, is the most important of all requi- 
sites in the development of memor}^, and no effort 
should be spared to strengthen and improve it. Noth- 
ing that is worthy of attention at all should be contem- 
plated carelessly, or examined except with thorough- 
ness, for what is fully comprehended is not easily for- 
gotten, and that which is but imperfectly understood 
soon fades away from the memory ; and, moreover, see- 
ing or hearing in a careless or superficial manner only 
engenders and fosters a habit of inattention, which is 
the very bane of memory. 

The whole energies of the mind should always be 
concentrated on the subject under consideration, which 
should not be abandoned until its details shall have 
been fully mastered, however unimportant many of 
them may seem — for any one of them may prove to 
be an arch-stone on which the stability of the whole 
structure depends. "One thing at a time, and that 
done well," is not less applicable to the cultivation of 



106 THE ART OF MEMORY. 

memory than to any other of the most important 
practical affairs of life — for what is once properly 
considered by the mind thus becomes a permanent, 
instead of a merely transitory, possession: it is better 
by far to know a few things well than a great many 
things but imperfectly : it is of infinite importance that 
the foundation should be the enduring rock rather 
than the shifting sands: the building up of knowledge 
should surely rather be upon the firm, solid, reliable 
basis of Attention and Thoroughness, than upon the 
yielding, unsteady, vacillant elements of Inattention 
and Sciolism; for in the one case it means a noble 
edifice, a treasury of talent and genius — in the other 
a weak, clumsily wrought fabric, a storehouse of the 
odds and ends of mediocrity or inferiority. Which 
should be chosen? Like Eeuben, shall it be said unto 
thee: "Unstable as water, thou shalt not excel?'' 
"But/' it may be asked, "how can the attention be 
surely secured and maintained if there be a lack of 
curiosity regarding the subject presented to the mind?" 

The answer is — by the exercise of the Will. While 
curiosity [other emotions and feelings, too] may prop- 
erly be considered among the most powerful of all 
the incentives for directing and preserving the atten- 
tion, yet it is unadvisable to rely upon mere curiosity 
as an expected tool by means of which those things 
may be infallibly impressed upon the memory which 
are the most worthy of preservation. 

The natural trend of curiosity is too apt to be in 
the line of the more trivial and ephemeral matters of 



ATTENTION. 107 

life — the things which may attract the passing fancy 

of to-day, but to-morrow prove of little or no true 

significance, scarce worthy to have ever occupied a 

place, however temporary, in the consciousness, much 

less to be deliberately treasured in the memory. Bad 

habits are, unfortunately, far more easily formed than 

good ones; it seems as if the former are instinctive, 

and that the latter cannot attain a better than flaccid 

quality except by assiduous culture. 

Dry den has well said: 

"111 habits gather by unseen degrees; 
As brooks make rivers, rivers run to seas." 

The memory, as well as any other department of 
man's being, may acquire deleterious habits; if the 
school-boy were left to follow at will his own impulses, 
his memory would seldom develop in the direction best 
adapted to his moral and intellectual well-being and 
progress. His thoughts must be watchfully guided 
until childhood shall have merged into youth and youth 
into manhood, when he is supposably qualified to in- 
telligently assume the direction of his own thoughts 
through the years of the future. But, even then, it 
cannot reasonably be expected that his mental powers 
will be developed to a degree even approximating their 
possibilities, otherwise than by the application of self- 
discipline — and this cannot be effectually inaugurated 
and preserved save through the exercise of the Will. 
Every rational being should possess a deep seated^ de- 
termination to make the most of his intellectual facul- 
ties — and the first and most essential step in this 
direction is to cultivate the memory. If that be done 



108 THE ART OF MEMORY. 

only upon correct principles, the development of the 
mind moves with speed and is certain of accomplish- 
ment; and as Attention is more important than all 
other requisites in the cultivation of the memory, so 
the intelligent exercise of the Will is the most vital 
factor in the securing of Attention. By an effort of 
the will an interest which may not at first naturally 
exist, can actually be created; properly directed will- 
power can compensate for the lack of native enthu- 
siasm in a subject, until eventually that interest which 
was once more or less forced, will have become in a 
great degree spontaneous; things which were formerly 
to us prosaic in the highest degree, distasteful even, 
will grow to possess positive attractiveness. 

It is earnestly urged that there be an intelligent 
discrimination as to what the memory shall be en- 
couraged to retain; let the chaff be cast aside, that 
there may remain only the golden grain; let each sub- 
ject selected for consideration by the mind be regarded 
attentively until thoroughly mastered, before the next 
is taken up; and let the same rule be applied to each 
part of the same subject. 

Let the student proceed step by step in that way, 
with Attention as the motto of his march and the rally- 
ing-cry of his mental forces, and the time will surely 
come when what was at first a task will have become 
a genuine pleasure — when what may once have seemed 
impossible of achievement will be accomplished with 
ease; and finally, when the development of the Memory 
and the Mind in an intelligent and systematic manner 
will have brought its bountiful and deserved reward. 



CHAPTER VI. 



ASSOCIATION. 



*'Next to the effect of Attention is the remarkable influence pro^ 
duced upon memory by Association." Dr. Abercrombte. 

"It is by means of Asisociatiou that we recall to mind past idea.s 
and s.eDsations." Kay. 

"The more relations or likenesses that we find or can establish 
between objects, the more easily will the view of one lead us to recol- 
lect the rest." Bex\ttie. 

"Loilled in the countless chambers of the brain, 
Our thoughts are linked by many a hidden dhain; 
Awake but one^and lo! what myriads' rise! 
Each stamps its image as the other flieis," 

Rogers. (Pleasures of Memory.) 



Next in importance to Attention as an essential 
factor in the development of Memory, comes Associa- 
tion. By Association is meant that peculiar property 
possessed by the mind of linking an impression received 
by it with some other impression already in the mem- 
ory, so that by the recollection of either the other also 
is apt to be recalled. 

(109) 



110 THE ART OF MEMORY. 

While we must employ Attention to fix anything in 
the memory, it is necessarily through Association that 
we are able to revive it. Who does not appreciate the 
inestimable value of Association as a means of bring- 
ing back to mental view faces and forms and events of 
the misty past, which in no other way could have been 
restored to our remembrance? 

The sight of a tree, a hedge, or a brook may cause 
the renewal within us of a world of tender memories I 
A hill, a bridge, or a field coming into view for the first 
time in many years, will often revive clearly in our 
minds and touchingly to our hearts scenes that to pre- 
vious efforts of the memory had long since departed 
from our recollection. An autograph or a picture will 
bring back distinctly to our mental vision features and 
forms almost forgotten, it had seemed. A flower be- 
tween the leaves of a book, when gazed upon in the 
after years of life, may touch as with spirit-hand what 
we thought was a vanished chord, and cause a thrill 
once more of that rapture which was felt on the occa- 
sion when the flower was flrst plucked — perchance in 
some sweet May-day of our youth. The notes of some 
familiar song of childhood^s days, when heard again for 
the first time after the lapse of many years, will revive 
in our remembrance the faces and the voices of the de- 
parted dear ones who sang that song in the long ago. 

Indeed, is there any one Avhose heart has not often 
beat quick with the sweet, and yet pensive, memories 
revived through the magic power of Association? — and 
who that is imbued with the spirit of true appreciation 



ASSOCIATION. Ill 

would willingly exchange those memories for aught 
that the insubstantial riches of this world can pur- 
chase? Surely, no merely earthly pleasures, however 
enticing, are fit to be compared with the profound and 
enduring, celestial, Joys of Memory. 

Association is indeed a necessary and one of the 
most potent means by which impressions of the past 
may be preserved in the memory. It may be likened 
to a chain, whicn may consist of many links, each one 
being an essential part of the whole, and the connection 
between the various links being both natural and pow- 
erful. 

In illustration of the remarkable power of reviving 
past impressions possessed by Association, an amusing 
anecdote is related of a certain physician, of somewhat 
eccentric disposition, who, accompanied by his servant, 
Avas driving several miles in the country to visit a pa- 
tient. On arriving at a certain point, he branched off 
from the highway onto an abandoned road, overgrow^n 
with brushwood, but which soon emerged into the main 
road. 

After driving a short distance on this disused road 
he stopped, and turning suddenly to his servant, said : 
^'Do you like o^^sters?'' The servant was somewhat 
surprised at being asked such an odd question, but 
promptly answered, "Yes, sir.'' 

The doctor said nothing more and the journey was 
resumed. About a year afterwards the two happened 
to be again journeying on the same road, and the doctor 
diverged into the deserted road as before. Stopping 



112 THE ART OF MEMORY. 

at the same point as he had previously done, the doctor 
turned abruptly to his servant, as on the former occa- 
sion, and said: "How do you like them best?'' "Fried, 
sir,'' was the ready reply! 

That was a most suggestive example of the remark- 
able power of Association; although a whole year had 
passed by since the first question was put by the doctor 
to his servant, yet, when the same spot was reached 
again and a question asked that, by itself, was obscure 
and could not be intelligently answered, the servant, 
whose thoughts were now so full of his master's former 
inquiry, at once instinctively associated the two ques- 
tions and was able to give a prompt answer. 

It is a peculiar psychological fact that an isolated 
idea (if such there can be, in a complete sense) cannot 
remain in the memory; it must at once become associ- 
ated with some other idea or impression, or it will for- 
ever vanish. Every idea that we have is associated 
with one or more other ideas, and it is only by follow- 
ing back the lines of association that an impression can 
be reproduced; and it is self evident that the more im- 
pressions there are associated with the thing to be re- 
membered, the more ready and certain is its recollec- 
tion. It is as if there were several paths converging 
into one: it is only necessary to find any one of those 
paths to be on the way to reach the desired goal; and 
the more paths, the greater the chance of some one of 
them being discerned. The reason why memory itself 
is possible lieB in the fact that ideas suggest ideas: if 
it were possible (a conception which has been well- 



ASSOCIATION. 113 

doubted) for an idea to obtain entrance into the mind 
without connection with any other idea (instinctive or 
acquired), it could not be reproduced — a truth which 
is verified by the uniform observation of us all as to the 
correlation of ideas in our own minds. For anything 
to become fixed in the memory it must be linked to 
something already in the brain : hence the greater our 
stock of knowledge the easier for it to be augmented. 

Any impression made on the mind is always accom- 
panied with some other impression of more or less dis- 
tinctness, and between which and the dominant im- 
pression there may or may not be a natural association; 
the circumstances surrounding the entrance of an im- 
pression into the mind may be such that the accom- 
panying impression is entirely foreign to the main one, 
but yet it will often adequately serve to revive the dom- 
inant impression. 

It is always better that the association should be a 
natural rather than an accidental one; but sometimes 
the least congruous associations are crowded into the 
mind by some peculiar recondite agency, and become 
the means by which some of the most important im- 
pressions made on the mental powers are reproduced — 
and they may often prove none the less serviceable in 
spite of their total incongruity. 

Association may be divided with tolerable exact- 
ness into three general classes: Incidental, Natural, 
and Artificial. 

Incidental Association is where there is a connec- 
tion in the memory between things seen or events which 

8 



114 THE ART OF MEMORY. 

occurred at the same time or place, without reference 
to their relation to or dependence upon each other. The 
following anecdote will serve to illustrate this form of 
Association: 

Some years ago a gentleman who was traveling on 
one of our western railroads was requested by a lady 
sitting near him to hold her birdcage for a few mo- 
ments, while she would make some changes in her toi- 
let. He complied, but had scarcely taken the cage 
from her hand when the train plunged down an em- 
bankment, some of the passengers being severely hurt, 
and all not a little shocked by the sudden disaster. 
The gentleman was fortunate enough to escape injury, 
but ever afterward the sight of a birdcage was suffi- 
cient to remind him of the accident, in all its painful 
details. 

Here is another illustration: 

The author was once passing the evening at a the- 
atre where the opera of "Pinafore" was the attraction. 
During a certain scene, when the lights were partially 
turned down, a bat came in through some open window 
and began flying vigorously about the house, to the 
exceeding discomfiture of many of those present, who 
knew not the cause of the general commotion which 
took place, and to the consequent amusement of others. 
Ever since that time the sight of a bat, and even the 
thought of one, has rarely failed to bring most vividly 
to mind the circumstances of that evening, and espe- 
cially that scene in the opera in which the bat took an 
unbidden part — although two ideas more disconnected 
than those could not well be imagined. 



ASSOCIATION. 115 

Taking an imaginary journey along the paths and 
by-ways of history and pursuing the same line of illus- 
tration, why might not the sight of a cherry-tree in- 
stinctively call up before the mind's eye the immortal 
hero of Valley Forge and of Yorktown? — or that of an 
egg bring to us in quaint attire the intrepid discoverer 
of America? An apple might easily suggest the illus- 
trious Newton or the traditional William Tell, and a 
spider's web remind one of the heroic Bruce or the 
zealous Mahomet. Some companion's mentioning an 
asp would of course conjure up in our thoughts the 
peerless Egyptian queen whose charms fascinated the 
mighty Csesar and enthralled the eloquent Antony; 
and, by a proper expansion of the imagination, a bale 
of cotton before our eyes or mental vision might put us 
in mind of "Old Hickory" and the battle of New Or- 
leans; and the sight of a goose might carry us in imag- 
ination back to ancient Rome and its traditional de- 
livery from destruction! 

While it often happens that most powerful and per- 
manent impressions are made on the memory by Inci- 
dental Association, yet its exercise should be encour- 
aged as little as possible, for that which it causes the 
memory to retain is essentially of a miscellaneous char- 
acter, impossible of methodical arrangement, and the 
process by which it is received into the consciousness 
is not of that nature which is calculated to properly 
develop thje memory powers. Incidental Association 
is purely automatic in its action, being usually brought 
into exercise under wholly abnormal conditions, and is 



116 THE ART OF MEMORY. 

thus to a considerable extent beyond the control of the 
will. 

Natural Association is the perception of a genuine 
and apparent relationship between something which 
has already been apprehended by the mind, and some- 
thing else which has just been introduced to it. It is 
the recognition of either a similarity, relevancy or con- 
trast, or else ideal or scenic contiguity, subsisting legit- 
imately and not obscurely between two or more things, 
events, facts or ideas. For instance, when an idea pre- 
sents itself to the mind, the latter instinctively classi- 
fies it, as it w^ere, or deposits it with previous ideas of 
the same class or character, if the same exist; and the 
greater the number of ideas thus stored away, the 
stronger the probability is that any one of them can be 
reproduced when desired. Thus, a fact ascertained in 
some particular department of Natural History will, 
by a process of natural selection, associate itself with 
other facts of a like nature previously knowm. The 
same is true in regard to historical events, and inci- 
dents in the lives of noted men — and, in fact, most 
probably with reference to everything in the realms of 
either sensibility or thought. A person, we will say, 
• in reading about whales, learns that this denizen of the 
sea has a larger brain than any other living creature. 
On some other occasion he learns that the canary bird 
has a larger brain, in proportion to its size, than any 
other bird or any beast; that fact naturally associates 
itself with the other. Later on he ascertains that the 
largest human brain was that of Tourguenielf, the 



ASSOCIATION. 117 

novelist, which weighed nearly half as much again as 
the average brain — the next larger being that of Cu- 
vier, the great naturalist, whose brain w^as one-tenth 
smaller than Tourguenieff's. At another time he 
learns that some of our most distinguished men have 
had undersized brains — among whom were Dickens, 
Byron and Lamb — and this leads the student to reflect 
whether, after all, it is not the quality, rather than the 
size, of the brain that determines intellectual power. 
All those facts, having entered the mind, will, by rea- 
son of their obvious affinity, naturally cluster together, 
and the recollection of one is likely to revive the others 
in the memory, one by one. 

While perusing a newspaper we happen to come 
across an item that somebod}^ or other has recently 
died at a very advanced age. That instance naturally 
reminds us of others of a similar nature which we have 
read of at various times, and, among them, may pos- 
sibly call to our remembrance the cases of Democritus, 
the Greek philosopher, and Hippocrates, "The father 
of Medicine," each of whom lived to the rare old age 
of 103 — and also remind us of the curious fact that 
both of those personages were born in the same year 
(B. C. 460), their deaths occurring in B. C. 357. That 
recollection, in turn, may recall to us the fact of the 
remarkable longevity of the Countess of Desmond, who 
was known to Sir Walter Ealeigh, and who. Bacon 
tells us, cut three sets of teeth, and reached the great 
age of 140: of Thomas Parr, a farm laborer of Shrop- 
shire, England, who attained the extraordinary age of 



118 THE ART OF MEMORY. 

152 — and then did not die of old age! — of Henry Jen- 
kins, who was called as a witness in an English court, 
and testified regarding events of which he had been an 
eje-witness a hundred and fifty years before, and who 
died at 169; and also of Peter Czartan, a Hungarian 
peasant, who transcended the more modern records in 
longevity by reaching the prodigious age of 185 — hav- 
ing been born in 1524, and dying in 1709 — thus having 
lived in three different centuries! 

The subject of human longevity is also likely to call 
up in our minds that of longevity in the animal king- 
dom, and some of the curious facts in regard thereto. 
We remember, for instance, that the extraordinary age 
of three hundred years is sometimes attained by the 
elephant, while the rhinoceros is permitted to barely 
reach twenty — and we marvel that such is the fact — 
and that the bear's life is comprised within a score of 
years, while that of the camel may stretch out to an 
hundred. We wonder why the swan lives to be an hun- 
dred years of age and the crane only one-fourth as 
many; why the crow often rivals the swan in lon- 
gevity, while the blackbird's span of life must be em- 
braced within a baker's dozen of years — and why the 
limit of the wren's life is only three years, while the 
lark may live the length of a wren's life half a dozen 
times over. We are puzzled to understand why the 
tortoise's life may linger out to an hundred years, and 
the squirrel's span be barely seven or eight — and why 
it is that the pike and carp reach the extraordinary age 
of a hundred and fifty years, while the eel can live but 



ASSOCIATION. 119 

a brief ten. Naturalists may indeed explain to us 
that duration of life is based on the period required to 
attain maturity^but we cannot help wondering at it 
all, just the same, and by the learning of each addi- 
tional fact do other facts of a similar nature previously 
learned, naturally become revived in the memory 
through the power of association. 

The subject of longevity in the animal kingdom and 
in the human family, may very easily suggest that of 
long reigns of various potentates in the world's history. 
The unusually long reign of Queen Victoria, who as- 
cended the throne of England in 1837, naturally sug- 
gests the query as to whether her reign has ever been 
surpassed in length by that of any other sovereign. 
On looking over the pages of our memory we find im- 
printed thereon the fact that George III. of England 
was king during the remarkably long period of sixty 
years: that Louis XIV. of France reigned sixty-one 
years; and also that Egypt's greatest king, Kameses 
II., exceeded even the extraordinary records already 
mentioned — having occupied the throne of the Phara- 
ohs during no less a period than sixty-seven years! 

Let the student notice what a natural line of asso- 
eiation is the following: We will assume, for the pur- 
pose of illustration, that it is midsummer, and on a day 
when all seems the reverse of heavenly except the 
mercury, which is near the 100 degree mark. 

It would at such a time be perfectly natural for the 
subject of hot weather to be uppermost in the mind, 
and for the query to arise as to where is the hottest 



120 THE ART OF MEMORY. 

place on the earth's surface. On reflecting for a few 
moments we perhaps recollect to have sometime read 
that on the southwest coast of Persia, in the region 
bordering on the Persian Gulf, the mercury often 
reaches 128°, Fahrenheit, as it does also in the interior 
of Australia; and that in the vicinity of Massowah, on 
the Abyssinian coast of the Red Sea, a temperature o*f 
133° is frequently attained, the mercury having at 
times been known to reach the almost incredible height 
of 160°! 

The subject of excessive heat might easily suggest 
its opposite, and in a corner of our memory we find 
the fact preserved that the greatest degree of natural 
cold ever experienced, as determined by authentic 
measurement, was at Yerkhoyansk, Siberia, where the 
thermometer has been known to register a tempera- 
ture of 85° below zero; and that we once also learned 
that the greatest daily range occurs in certain parts of 
Arizona, where there is frequently a change of 80° in 
twelve hours. 

In natural sequence it then occurs to us that on 
another occasion we* read that the dryest place in the 
world is probably between the first and second cata- 
racts of the Nile — where rain has never been known 
to fall. That information is well associated in the 
mind with the fact that the place of greatest annual 
rainfall is at Cherra Poonjee, in Assam, where it reaches 
the enormous average of 610 inches — the depth during 
one year having made the extreme record of 905 inches! 
The latter figures are better appreciated when we re- 



ASSOCIATION. 121 

fleet that the average annual rainfall of the world is 
but 36 inches! 

The subject of rainfall may easily suggest the sub- 
ject of rivers, and we find no difficulty in recollecting 
that the Amazon is the largest, and the Missouri the 
longest (4,100 miles); and we are perhaps likely to re- 
member also that the Desaguadero River, in Bolivia, is 
the most elevated, being 13,000 feet above sea level. 

The subject of rivers naturally suggests that of 
lakes, and we perhaps remember that the most elevated 
lake, except the lakes of the Himalayas, is Lake Titi- 
caca, Bolivia, 12,600 feet above the level of the sea; the 
highest body of salt water being Great Salt Lake, 
Utah, 4,200 feet above sea-level; the largest fresh- 
w^ater lake being Lake Superior, and the deepest. Lake 
Baikal, Siberia, which latter is in some places 4,500 
feet deep — two-thirds of which is below sea level; the 
largest inland sea being the Caspian. In this con- 
nection we may also chance to remember that the low- 
est body of water is the Dead Sea, 1,300 feet below the 
surface of the ocean; and that Lake Urumiah, Persia, 
is the saltest body of water in the world, the same con- 
taining twent^^-two per cent of salt, while ordinary sea- 
water contains but three. 

The subject of lakes and seas may suggest that of 
tides, and our memory may again tell us that the low- 
est tides are at Panama, where they average only about 
two feet, while in the Bay of Fundy the tides have been 
known to reach the enormous height of from fifty to 
sixtv feet. 



122 THE ART OF MEMORY. 

The subject of tides might easily suggest that of 
waterfalls, and we perhaps remember that the highest 
waterfall is in the Yosemite Valley, and is 2,550 feet 
high. 

Does not the above chain of thought illustrate nat- 
ural lines of Association? — and would not those facts, 
even if learned at odd times, naturally cluster to- 
gether? 

The foregoing examples are given to illustrate the 
retentive power of the memory through Natural Asso- 
ciation — the various impressions which are received 
from time to time linking themselves, one by one, with 
previous impressions, until perhaps a long concatena- 
tion of facts and ideas is acquired by the memory, the 
recollection of any one of which naturally causes the 
others to be successively revived and with comparative 
ease — thought's electric current being readily con- 
ducted, or spontaneously progressing along the chain. 

Impressions thus received and stored away are as- 
sociated together by what may be termed Similarity, 
or Eesemblance — that is, not being necessarily all im- 
mediately related in thought or presented to the mind 
consecutively, but possessing features to a certain 
extent genealogically allied, a genealogy of many 
branches. 

With Similarity as an associating force, might also 
be included its antonym. Contrariety — for, although 
things are usually remembered far more easily by their 
resemblances than by their differences, yet there are 
striking exceptions to this rule, as the universal expe- 



ASSOCIATION. 123 

rience of mankind can amply attest. He who is hope- 
lessly immersed in the depths of poverty would be far 
more forcibly reminded of his forlorn condition by the 
vision of a gorgeous mansion with its luxurious sur- 
roundings, than by the sight of some other humble 
hovel like his own. They w^hose "way of life is fall'n 
into the sear, the yellow leaf" can better realize the 
oppressive weight of their years by listening to the 
merry prattle of childhood, than by comparing their 
ow^n situation with that of others whose sands of life, 
too, have nearly run. The malefactor, condemned to 
an ignominious death as the penalty for his crimes, 
never so truly appreciates the incomparable boon of 
life and liberty as when immured in the lonely cell 
from whence he is destined to emerge only to meet his 
deserved fate upon the scaffold; and the priceless 
blessings of health never stand out in such glowing 
colors before man's mental vision as when he is lan- 
guishing on a bed of sickness. When the dreary blasts 
of winter are relentlessly beating about us, how vividly 
do we picture to ourselves the balmy days of early sum- 
mer! When encompassed by the horrors of "grim vis- 
aged war,'' how alluring seem the delights of gentle 
peace! — and what can be so suggestive of the glorious 
sunshine as being shut up in total darkness? But, 
powerful though Association by Contrariety may some- 
times be, yet its influence is limited to but narrow 
bounds. Being based upon contrasts, it can be made 
available only when contrasts exist — and even then 
they must usually be strong, and are seldom effective 



124 THE ART OF MEMORY. 

except from the standpoint of adversity. The enjoy- 
ment of plenty does not remind us of the miseries of 
want; light seldom suggests darkness; nor does the 
possession of robust health suggest the pangs of dis- 
ease. To have our liberty is not to thus be reminded 
of a prison cell; the sunshine of prosperity does not 
suggest to us the shadows of adversity; nor when we 
are in the heyday of youth do we think upon the in- 
firmities of age: pleasant subjects seldom suggest un- 
pleasant ones — although unhappy experiences are 
pretty certain to remind us of their opposites. Thus, 
Association by Contrariety can hardly be said to de- 
serve being classed as an independent associating force^ 
but rather as a branch of Association by Similarity. 

Another form of Natural Association is that of Con- 
tiguity, or Adjacency; and this may be subdivided into 
Contiguity of Thought, and of Vision. 

In the reception and storing away of concrete ideas 
(as of things or events) by the mind, as in Incidental 
Association and Association by Similarity, their con- 
sideration in continuous order is not so essential to 
their retention in the memory as in the case of ideas 
of an abstract nature, in which latter their successive 
contemplation by the mind would be more necessary 
in order that each impression might be made with suf- 
ficient distinctness and force to weld it to its prede- 
cessor. This branch of Natural Association would 
properly come under the head of Contiguity of 
Thouixht — which would also include so-called ^^verbal- 
memory,'' or the recollection in its exact phraseology 



> 



ASSOCIATION. 125 

of anything heard or read — the retention of each idea 
thereof in the memory being mainly dependent on con- 
secutive vivid conceptions^ made seriatim of all the terms 
of its series or connection. 

Contiguity of Vision is where there is presented to 
the sight a number of things simultaneously, which 
may be of a varied character and situated at different 
distances from the point of vision, and which are not 
viewed in any particular order, but in a casual way, 
•it may be, or at the pleasure of the observer, which 
through a developed sense of their association may be 
recalled at will, in any order desired — or the whole 
may be brought before the mental vision at the same 
time; as, the recollection of various objects in a store- 
window, or the prominent features of a landscape — or, 
in fact, any aggregation of objects to which the eye has 
been attracted. 

This form of association, being confined mainly to 
sight perceptions, is of a far less exalted character than 
Contiguity of Thought — which latter is the most im- 
portant and valuable of all kinds of association; and 
while it is to a great extent instinctive in its operation, 
yet it may be greatl^^ cultivated by proper training. 

Artificial Association is employed for memorizing 
isolated facts, events and circumstances, and ideas gen- 
erally, where no natural relationship is apparent. If 
that is done in a systematic manner, however, it may 
be made to merge, in a certain degree, into Natural 
Association — as comparisons may be conceived and 
resemblances discovered which would not be disclosed 



126 THE ART OF MEMORY. 

under ordinary conditions. Things represented ab- 
stractly, as in the case of numbers, or proper names, 
or different events happening at the same time or place 
but bearing no relation to each other, would be con- 
nected by Artificial Association, as would heteroge- 
neous facts in general. 

Thus astronomers, by arbitrarily grouping the stars 
into constellations, are able to memorize their posi- 
tions far more easily than without this artificial aid. 

Various historical facts can also be recollected 
much more readily and certainly by means of Artificial 
Association than without its assistance, for a careful 
search through the pages of history reveals some cu- 
rious coincidences. For instance, we learn that Plato 
was born in the same year that Pericles died (B. C. 429). 
We discover that Aristotle and Demosthenes were both 
born in the same year (B. C. 384), and also died in the 
same year (B. C. 322), which was the year following 
that of the death of Alexander the Great; and that 
Ovid was born in the same year that Cicero was put to 
death (B. C. 43). 1564 was in some respects the most 
remarkable year since the dawn of the Christian era — 
for in that year Michael Angelo and Calvin died, and 
Shakespeare, Marlowe, Galileo, and Buxtorf came into 
the world. In the year that Marlowe died (1593) Izaak 
Walton was born, he dying in the same year that Mid- 
dleton was born (1683), the latter dying in the year that 
Curran was born (1750). In the year that Galileo died 
(1642) Kichelieu also died, and Newton was born. In 
the year tliat Newton died (1727) Gainsborough was 
born. 



ASSOCIATION. 127 

It is related that Diogenes and Alexander the Great 
both died on the same day (in B. C. 323); and that 
Shakespeare and Cervantes also died on the same day 
(April 23, 1616), it being the former's birthday. Ex- 
Presidents John Adams and Thomas Jefferson died on 
the same day (July 4, 1826), exactly half a century after 
the Declaration of Independence; and James Monroe 
just five years later (July 4, 1831). 

The first five presidents ended their terms of service 
each in the sixty-sixth year of his age, and, had John 
Quincy Adams been elected for a second term, he also 
would have ended his term in his sixty-sixth year. 

The name of our first martyred president can never 
be effaced from the memory of the American people; 
and the name of the vice-president who served during 
his first administration need not be forgotten, for, most 
fittingly in every sense, it is literally — imperishably — 
interwoven with the former's name, as is here indi- 
cated : abraH AMLINcoln. 

Franklin Pierce was elected president in 1852. 
How easy to recall the date by bearing in mind that 
the last two figures denote the number of weeks in a 
year. He was the fourteenth president; that is indi- 
cated by F. P., the initials of his name, and by the fur- 
ther fact that there are fourteen letters in his name. 
It may be adverted to as an interesting circumstance, 
that his has been the only administration thus far in 
which no cabinet changes occurred during the entire 
term. 

Enoch's age when he was translated was 365 years. 



128 THE ART OF MEMORY. 

The poet Claudian was born in 365, which corresponds 
with the number of days in a year. That, also, is the 
number of islands contained in the Bermudas. 

In 580 Latin ceased to be a spoken tongue: the 
Catacombs of Eome are 580 miles long. 

The word VIBGYOK was long ago coined by Dr. 
Watts to assist students in recollecting the names and 
order of the primary colors (those developed from the 
solar beam by the prism) — the initial letters of those 
names, in their order, forming the word above-mem- 
tioned, thus: 

Violet. 

Indigo. 

Blue. 

Green. 

Yellow. 

Orange. 

Bed. 

(A real phrase, BY VIGOE, would be a less cumber- 
some key, though tagged with the need of a slight cen- 
tral adjustment to fit this order.) 

The word CABAL is said to have originated in the 
time of Charles 11. — the initial letters of the names 
of his Cabinet Ministers forming the word, thus: 

Clifford. 

Ashley. 

Buckingham. 

Arlington. 

Lauderdale. 



ASSOCIATION. 129 

The initials of the words denoting the four points 
of the compass form the word NEWS — whence its 
origin. 

Every musical student remembers that one of the 
first things he learned was that the letters in the spaces 
of a musical staff form the word FACE. The sentence 
"GooD AlE and BeeF" was long ago invented to assist 
the student in recollecting the names of the major 
keys containing sharps — the first and last letters of 
each word, excepting the conjunction ^^and," denoting 
the keys in regular progression. 

The four parts in a mixed vocal quartette, in their 
be represented by the word BEAD, the letters thereof 
indicating the keys in their regular order. 

The four parts in a mixed vocal quartette, in their 
proper order, may be represented by STAB, which may 
be used either backwards or forwards — the initial let- 
ters of the words indicating the various letters forming 
the acrostic, thus: 

Soprano. 

Tenor. 

Alto. 

Bass. 
The acrostic A PALM VALE includes the principal 
terms used to denote time, or tempo, in musical compo- 
sitionS; thus: 

Allegro: Fast. 

Presto: Very fast. 

Adagio: Quite Slow. 

Largo: Very slow. 

Moderato: Moderately fast. 



130 THE ART OF MEMORY. 

Vivace: With briskness. 

Andante: Somewhat slow. 

Lento : Slow. 

Energico: With energy. 
The Chinese vocabulary is said to consist of about 
43,560 words or idea-characteristics, which corresponds 
with the number of square feet in an acre. 

There are 24 hours in a day; add one cipher and w^e 
have the number of bones in the human body; add four 
ciphers and we have the distance in miles to the moon; 
there are also 240,000 varieties of insects. 

Those examples of Artificial Association are given 
to show how facts which are of a more or less isolated 
character may be securely tied together, as it were, by 
intelligently combining certain accidental features and 
associating them in the mind : the remembrance of one 
is apt to recall another, and that may bring to mind 
still another — and so on, until much may be revived 
in the memory that would otherwise have faded away 
from the lack of strength in the original incidental as- 
sociating forces. While it is true that no solitary idea 
can remain in the memory, yet it is demonstrable by 
easy experiment, as we have indicated how, that many 
an idea which would otherwise disappear through the 
absence of a cognate idea with which to become 
promptly associated, may be indelibly preserved in the 
memory through the proper employment of Artificial 
Association. 

Usually when an idea knocks for admittance to the 
memory, there is no certainty that the mind can be re- 



ASSOCIATION. 131 

lied on to at once respond with an associating idea to 
which the new-comer may be firmly linked. If exist- 
ing at all, the relationship may be so obscure as to ren- 
der the formation of a natural association that will be 
of an enduring character extremely doubtful: in such 
case the only reliable hope of attaining the desired ob- 
ject will be through the intelligent exercise of Artifi- 
cial Association; and in how to perform that to the 
best advantage, and in how to most profitably employ 
Natural Association in the storing of ideas, consists 
the great Art of Memory. 

Let it be borne in mind, then, and moreover, that 
while the depth of impressions will naturally diminish 
more or less with advancing years and a brain contin- 
ually becoming less plastic, yet the capacity to form 
associations is naturally augmented by experience and 
may be wonderfully increased by practice, which in- 
crements of " advantage should long make ample 
amends for any decrease of primary receptive power; 
and by them may always the most avail be derived 
from the least labor. By employing proper methods 
of association, that only is preserved in the memory 
which is deemed worthy of retention, it being stored 
away carefully and properly indexed, so that it may be 
brought forth at will. 

In memory development the first thing is to im- 
press, and the next to associate — and the association 
should be made as promptly as possible, in order that 
other, and perhaps wholly irrelevant, impressions may 
not intervene to weaken the association ; and let it also 



132 THE ART OF MEMORY. 

be remembered that the impression should first be 
clear and vivid before any association is attempted, for 
strong and enduring associations cannot be formed 
with weak impressions. And it should be further ob- 
served that all associations should be in pairs — that 
is, no more than two ideas or sensations should be con- 
sidered together (all others being excluded as com- 
pletely as possible, and at least from direct contempla- 
tion for the time being), and those two should be in- 
tently regarded and compared with each other until a 
complete association is formed in the mind before pro- 
ceeding further. 

The impressions which we derive through Inci- 
dental Association may be said to almost invariably 
form themselves, so to speak; that is, to come into ex- 
istence without our effort, or even consent: while in 
nearly all other cases the associations are largely of 
our own making, and, as to whether they be strong or 
weak, properly or improperly formed, the responsibil- 
ity rests mainly with us. In Artificial Association it 
is entirely so, and in Natural Association it is the case 
to a very considerable extent. 

While there is a certain intuition, or natural selec- 
tion, in a great degree, in Natural Association — ideas 
which have an afiinity for each other instinctively clus- 
tering together in the memory — ^yet the value and per- 
manence of the associations formed depend largely 
on their degree of appositeness perceived and the thor- 
oughness by which are strengthened those ties of rela- 
tionship whereby the various impressions are linked 



ASSOCIATION. 133 

together — and, that keenness and discipline in those 
regards shall be attained and developed most advan- 
tageously in his case, should be the aim of every one 
who desires the real and permanent improvement of 
his memory. The forming of inapt associations should 
be most jealously guarded against, for they are pro- 
ductive of incalculable harm, leading the memory by 
imperceptible degrees into careless and immethodical 
habits, frojn which it ultimately w^ill be unable to 
break away except by the most severe discipline — 
while the observance of the true laws of association 
will enable the memory to not only become richly 
stored wiith those things which are the most worthy of 
preservation, but to increase in power to a degree that 
can scarcely be exaggerated — for the possibilities of 
the memory are truly beyond estimation — the capacity 
of that mighty auxiliary of the mental senses is indeed 
well-nigh illimitable! 



CHAPTER VII. 



CLASSIFICATION OF MEMOKY. 



Impressions reach the memory mainly through 
three channels, which may be termed, respectively, 
the senses of Sight and Sound (Hearing), and the fac- 
ulty of Thought, or Reason. 

The remaining senses of Taste, Touch, and Smell 
also convey impressions to the memory, it is true; but 
these, being comparatively insignificant in the scope, 
amplitude, and suggestiveness, of their functional pow- 
er in that regard, need not be particularly considered 
in connection with memory development. 

The impressions produced on the mind and senses 
through the agency of Sight, Sound and Thought, may 
be divided into two classes — passive and active. 

Sight and Sound impressions are purely passive in 
their nature, while Thought impressions may be either 
passive or active, or a combination of both. For in- 
stance, anything which w^e see or hear is an impression 
produced on us by something existing outside of our 
mentality — while that which is apprehended through 
our thought, or reason, may either proceed from ex- 
traneous sources or be caused wholly or partially 

(184) 



CLASSIFICATION OF MEMORY. 135 

within ourselves; thus, anything that we do, whether 
by word or act, may make as strong and enduring an 
impression on the memory as what we see or hear : and 
what w^e do — that is, any volitional act that we per- 
form — is inspired by Thought, either conscious or un- 
conscious. 

'^Thought" impressions, therefore, cover the widest 
field of all, and, being more evanescent in their nature 
than the others, are properly the main consideration 
in memory culture. 

The impressions w^hich are the most readily treas- 
ured in the memory are those of Sight — their reproduc- 
tion being in general purely mechanical, and the effect 
imaged forth anew, as it were, upon the retina of the 
eye, their faithfulness of detail depending chiefly on 
the attention, or fervor, with which the impressions 
were first received. The endeavor which we sometimes 
make to recall sights or scenes once witnessed, is not 
specifically an exertion of the intellect, but is an at- 
tempt to put our mind into the same state as when 
the original impression was formed; and it is upon 
the degree of success which we attain in such efforts 
that depends the integrity with which impressions are 
revived ; that fact is true not only in regard to impres- 
sions of things seen, but also has a bearing with respect 
to all other departments of memory. 

^^Sound'' impressions come next to those of Sight in 
the permanence with which they establish themselves 
in the memory; and that they are thus secondary to 
the impressions of Sight is due chiefly to two causes: 



136 THE ART OF MEMORY. 

In the first place, there are not the possibilities of 
variety, at least of pleasure few will deny or question, 
in Sound impressions that exist in those of Sight — and 
thus the element of interest, or curiosity (so valuable 
as an aid to the memory), is not exerted to the same 
extent in the former as in the latter case, to stimulate 
the retentive powers of the memory. In the second 
place, what is heard cannot produce as clear an im- 
pression as what is seen — ^the receptive powers of the 
eye being, appropriately in the conditions of man's en- 
vironment, superior to those of the ear^ — therefore the 
reproduction cannot be as vivid, and as faithful in 
detail. 

Except where otherwise indicated, as in the next 
illustration, in the generic comparisons made in the 
chapter between Sight and Sound impressions, it is 
understood that both are placed on the same basis — 
the impression in each case being considered as senso- 
rial merely, and not as involved in its incidence with 
circumstances of acute emotion or any more than the 
most minor necessarily coincident exercise of the intel- 
lectual faculties: thus Sounds, so combined as to repre- 
sent Ideas, as in the case of oral utterance, are, as to 
proper perception, blended with Thought impressions,, 
and accordingly when incident conformably to the 
conative impulse do not create sensations which are 
independent of those impressions, nor may their recol- 
lection become so while the latter remain in the mem- 
ory; so that Sound impressions are not in general to 
be understood as including anything which expresses 
Ideas any more than are those of Sight. 



CLASSIFICATION OF MEMORY. 137 

A realizing sense of the relative permanence of 
Sight, Sound, and Thought impressions may be at- 
tained without limiting ourselves to those just referred 
to as occurring practically separate, by taking a mental 
review of the experiences of early years. Of what we 
saw we find a great deal impressed on our memory in 
most vivid and enduring colors — but how much, com- 
paratively, does the memory retain of the sounds we 
heard? — forgotten, probably, are even the voice tones 
we once knew and loved. A few stray chords of lul- 
laby, or the like, may still respond to recollection, it 
is true — but when summed up, how little they all 
amount to, compared with the memories of what we 
saio! — And the thoughts that passed through our mind 
— what do we remember of them? and to what a very 
trifling extent can we reproduce those same thoughts 
at will! 

Let us take another and more distinctly specific il- 
lustration: A person starts off for a pleasant foot- 
jaunt, purposing to treasure in his memory all that he 
can regarding the scenes and incidents of his stroll — 
what he shall see and hear and think. He ranges 
among hills and valleys, through woods and along 
streams, feasting his vision on picturesque landscapes 
and wandering amid varied scenes of sylvan and other 
rural beauty. In after-time what will he remember 
best — that which was seen, or what was heard, or the 
appropriate reflections which passed through his mind 
during the excursion? 

To all that there is but one answer: The Sight im- 



138 THE ART OF MEMORY. 

pressions will be by far the most vivid and permanent 
of all, the Thought impressions the least so; the mem- 
ory being thus proved to require a greater amount of 
cultivation for the retention of the latter, than in the 
case of either of the other two classes. 

Things that we have seen require but little asso- 
ciation with aught heard or thought, to be revived in 
the memory — while sounds heard, unless familiarized 
by repetitions, need to be more or less associated in 
memory with the surroundings or accompaniments of 
their incidence in order to be remembered with any 
degree of ac^curacy. Thus, an event occurs in our ex- 
perience which produces a very deep impression on our 
mind at the time. In recalling it afterwards, that 
which we saiv comes first to our memory, that which 
we heard next, and what we tliougM last — the Sight im- 
pressions being the most independent of all, as well 
as the most lasting, while it is usually extremely diffi- 
cult to revive a particular train of thought in the mind 
after a lapse of any considerable length of time; there- 
fore Thought impressions require by far the greatest at- 
tention in memory culture — for that which instinctive- 
ly or unconsciously engraves itself upon the memory is 
naturally far more easily reproduced than that which 
ordinarily depicts itself only in transitory and soon fad- 
ing colors and must depend for its revival on a sheer 
effort of the will, necessarily more strenuous by far if 
without the reinforcement of a systematic association 
of the original ideas, or impressions. 

But while it is true that anything seen, heard or 



CLASSIFICATION OP MEMORY. 139 

thought creates its own proper sensation, yet the sen- 
sations often mingle with each other so indistinguish- 
ablj in their incidence that they seem, at the time, as 
if blended in one impression. That semblance exists 
only at first, however — the impressions, as time pro- 
gresses, becoming more and more separated in the 
memory according to their respective degrees of vital- 
ity; those which are the most enduring in their na- 
ture remaining delineate in spite of the disintegrating 
hand of Time, and those which are the most evanescent 
gradually becoming less distinct in their features and 
depending chiefly on association with other impressions 
for their recognition and availability. 

It is the province of mnemonics to equalize the va- 
rious classes of impressions as much as possible — or 
rather, to lift the lower up towards the higher — to 
increase the vitality of that which has inferior powers 
of endurance — to strengthen this and that weak place, 
so that what is ephemeral may become more lasting — • 
that which is inherently weak may be made more 
strong — the mediocre be made to reach toward the ex- 
cellent. 

On the theory that all impressions are more or less 
blended together, some mnemonicians have divided 
memory into only two kinds — Mechanical and Intel- 
lectual. Others have classified it into "Topical,'' or 
the recollection of events in the order in which they 
happened; "Eote," or the remembrance of anything 
spoken or written in the exact phraseology in which it 
was uttered or read; "Intellectual,'' or the recollection 



140 THE ART OF MEMORY. 

of anything by noting its resemblance to something 
else already in the memory; and ''Imaginative/' or the 
power of imaging forth in the mind past sensations 
in their original form, or nearly so. 

The latter is undoubtedly a logical (though it be 
not a scientific) classification, considering memory in 
the broad sense of a blended or compound impression, 
— for inter alia, it is manifest that events in which we 
have personally participated are the most easily rec- 
ollected of all, while the reproduction of a former state 
of mind is the most difficult — those two representing 
the lowest and highest grades of memory power. But 
on the basis of that classification it would seem diffi- 
cult to construct a practical memory system whose mas- 
tery w^ould enable the, average individual to materially 
improve his memory powers in the especial lines in 
which he might be interested; a classification of mem- 
ory by grades rather than hinds, though accompanied 
with hints or suggestions on how to advance from one 
grade to another, can prove of but little practical bene- 
fit in improving the memory. 

''Imaginative" memory, as above defined, cannot be 
possessed by the average individual — it can belong 
only to genius — and the man of genius "is born, not 
made.'' A graded classification of memory, and gen- 
eral hints on the cultivation of that faculty, do not 
suffice for its development from the practical, individ- 
ual, standpoint. It is not enough that the student 
should be told that the various grades of memory are 
thus and so — that one particular grade is the lowest, 



CLASSIFICATION OF MEMORY. 141 

and some other one the highest ; and that he may start 
at the lowest round of the ladder of Memory, and by 
attention and perseverance be assured of eventually 
reaching the top. Practically regarded, such teaching 
is what makes the "jack-of -all-trades, the master in 
none" of real mnemonics' diverse curric'ula. General 
suggestions for improving the memory might indeed 
be given w^hich would be not without value — but that 
is not enough; there should be specific directions for 
the cultivation of each department of memory, so that 
the student may know just what to do in order to 
develop any particular branch that he desires; and 
while there are but three main channels by which most 
impressions reach the memory, yet memory has many 
subdivisions; and as it is one of the peculiarities of tlie 
mental oy^ganization, that the cultivation of one generic 
h^anch of memory is of little or no assistance in the im- 
provement of another, it follows that each department of 
memor}" should be considered by itself — by which 
means, moreover, the memory student will be enabled 
to first attain practical results of benefit and efficiency 
in the particular branches in which he is especially in- 
terested. 

For the essential purposes of memory education it 
is not strictly necessary that the various classes of im- 
pressions (differentiated as to channels) should be con- 
sidered separately — for the impressions which are most 
worthy of being treasured in the memory are really 
those which are a combination of two or more classes: 
thus, the particulars of a lecture are better remem- 



142 THE ART OF MEMORY. 

bered when the lecture is illustrated than when it is 
not; the retention in the memory of the details of a 
musical entertainment is assisted by the sight of the 
surroundings and by the individualities of the perform- 
ers; in reading a narrative, the scenes and incidents 
are more easily impressed on the memory if the book 
is replete with illustrations than as if it is without 
them. 

For the purposes of memory culture, then, we will 
consider memory as being a combination of two or more 
classes of impressions, and proceed to ascertain how 
many Jcinds of memory are recognizable — in other 
words, to resolve it into various divisions and subdivi- 
sions, so that we may be the better able to determine 
specifically what is desirable of accomplishment in 
memory development, and then see about the adoption 
of practical means for attaining the end sought. 

Memory may be separated into the following gen- 
eral divisions: 

Locality. Discourse. 

Form. Literature. 

Color. Diction. 

Figures. Proper names. 

Events. Music. 

Facts. 
Those various divisions or departments of memory 
will be considered in the pages which are to follow, 
and rules and suggestions given for cultivating each 
particular branch — all of which are offered after the 
expenditure of many years of earnest research, reflec- 



CLASSIFICATION OF MEMORY. 143 

tion, and experiment, and in the firm conviction that 
by a faithful observance of the methods thus set forth, 
the powers of the memory will in each case be strength- 
ened and expanded in a multiplied and continually in- 
creasing degree — and not to the detriment of intel- 
lectual growth, but to its positive and material en- 
hancement, leading to a larger manhood. Each in- 
dividual who by such or other means awakens within 
himself a broader mind, with its just concomitant, a 
nobler, a better-developed soul, by so improving him- 
self must necessarily, in some degree at least, raise 
the level of his kind — helping to forge ^'sl closer link 
betwixt us and the croioning race^^ which slowly evolv- 
ing humanity shall be in some far-off time — 

"Of those that, eye to eye,, shall look 
On knowledge; under whose command 
Is Earth and Earth'^s, and in their hpnd. 
Is Nature like an opeit bcK)k," 



CHAPTER VIII. 



LOCALITY. 



"How we deliglit to Tbiiild our recollections npon some basis of 
reality— a place, a country, a local habitation!" 

Washington Irving. 



That department of the memory through whose func- 
tion a place or locality once seen may be readily rec- 
ognized on being visited afterwards, is termed ^^Local- 
ity'' memory. It includes not only the remembrance, 
in a general way, of the locality itself, but also of the 
surroundings in all their essential details, so that a 
route once traversed can be retraced without hesitation 
at any subsequent time. 

The memory of locality perhaps comes nearest to 
being instinctive of all departments of the memory. 
Certain animals, birds, and even insects, possess this 
faculty in a marvelous degree. Bears, tigers, wolves, 
panthers, and other predatory animals, are able to 
travel long distances from their favorite haunts and to 
return with speed and certainty. Dogs and cats have 

(144) 



LOCALITY. 145 

the faculty of "locality memory'' developed in perhaps 
a higher degree than any others among the domestic 
animals. Numerous instances are known of dogs be- 
ing conveyed many miles from home by strange routes, 
and of finding their way back with the utmost readi- 
ness. Cats also have a wonderful instinct for returning 
to a familiar spot, even though carried long distances 
away, through wholly unfamiliar scenes. Kobins, af- 
ter flying many hundreds of miles to the southward on 
the approach of winter, have returned to the same spot 
in the following spring. The remarkable memory of 
locality possessed by the carrier pigeon is also well 
attested. Bees frequently fly miles away from their 
Mve in search of honey, but who ever heard of their 
failing to return home through forgetfulness of its lo- 
cation? 

Tartars, Bedouins, Gypsies, and other nomadic 
tribes possess "locality memory" in a wonderful de- 
gree. American Indians find their w^ay with the ut- 
most ease — whether it be on the boundless plain or in 
the trackless forest; and the remarkable experiences 
of distinguished travelers and explorers such as Marco 
Polo, Burton, Speke, Livingstone, Stanley and many 
others, bear abundant evidence of similar abilities pos- 
sessed by the Caucasian race; — and who is not fa- 
miliar with the name of "Kit'' Carson, the famous scout 
and explorer of the far West who flourished in the 
"forties" and "fifties," and who proved of infinite serv- 
vice to the "Pathfinder" in many of hi^ explorations? 

10 



146 THE ART OF MEMORY. 

Louis XIII. could, after a year's absence, draw from 
memory the plan of a country, in all its details. 

Gen. Custer had an extraordinary memory for lo- 
cality. The physical features of a place once visited 
by him remained firmly fixed in his memory, as he 
abundantly proved at various times during the great 
Civil War. In 1861 he was on the staff of Gen. Banks 
when the latter was stationed in the Shenandoah Val- 
ley, which was then a network of bridle-paths and 
blind roads, that an average man could hardly hope to 
become acquainted with in years. In 1864 Custer was 
again sent to the same locality with orders to devastate 
the valley, destroy the food supply of the enemy, .and 
harass him in other ways. 

One of Custer's associates tells of an occasion when 
the general had received information that a body of 
Confederates was in a certain locality, and determined 
upon their capture if possible. One of the first ques- 
tions was as to the proper route to be taken. No one 
seemed to know, and no guide could be procured. Cus- 
ter, however, was equal to the emergency. Placing 
himself at the head of a detachment of troops, he 
marched on the main road until arriving at a certain 
bridle-path, into which he turned and made a short 
cut across the country, arriving at Fort Koyal at about 
6 p. m. Here it was necessary to cross a fork of the 
Shenandoah Eiver, but unfortunately for their purpose, 
the bridge situated at this point had been burned only 
an hour or so previously by the Confederates, just 
after having crossed it. Custer, however, had been 



LOCALITY. 147 

there before, and remembered that there was a ford 
not far off. It was soon discovered about half a mile 
above the bridge, and the troops w^ere thus enabled 
to cross the stream without difficulty. A new perplex- 
ity then arose. A mountain must be climbed which 
was covered with timber, with no indication of a road 
or path. Custer without hesitation led the way for 
another half-mile up-stream until reaching what looked 
like a rift in the mountain, but which proved to be an 
old road, rough and seldom used. The ascent com- 
menced and the journey was continued through most 
of the night, the progress of the troops being impeded 
not a little by boulders and fallen trees. But the long 
and wearisome march was at last rewarded by the cap- 
ture of the w^hole band of Confederates, who, deeming 
themselves perfectly secure, were completely sur- 
prised in their camp just before daybreak, valuable 
stores and several pieces of artillery being also taken. 
These illustrations serve to show that while "lo- 
cality memory'' is, in a great measure, instinctive, yet 
that it may be cultivated to a remarkable degree, even 
in cases where there seems to be no natural aptitude 
for recognizing places. The extraordinary memory of 
locality possessed by some of the world's greatest trav- 
elers and explorers could not have been attained ex- 
cept by severe self -discipline; what is largely instinct- 
ive in others came to them mainly through close, in- 
telligent observation — ^and perseverance. Not every 
one, it is true, can be a Custer, a Du Chaillu, a Mungo 
Park, or a Daniel Boone — but excellent "locality mem- 



148 THE ART OF MEMORY. 

ory,'' sufficient for all uses that are likely to ever occur, 
may be acquired by almost any intelligent person who 
properly directs his energies to its attainment. 

And now as to the method: 

In the first place, habits of observation must be cul- 
tivated; the eyes must always be alert to notice es- 
sential details of the surroundings — that is, the fea- 
tures which are of a passive or permanent character, 
rather than those of an active or changeable nature, 
for ^^locality memory" deals with the inert^ and not the 
animate — with tilings, and not with persons or crea- 
tures. 

But, even with fairly trained habits of observation, 
it is not the same thing to thread one's way amid the 
crowded thoroughfares of a great city, as to success- 
fully direct his footsteps in the forest, on the plains, 
or among mountain fastnesses. The inhabitant of a 
city, though he may be familiar with the devious wind- 
ings of its streets, easily gets lost among the solitudes 
of Nature; the denizen of the woods, prairies, or 
mountain retreats loses his "bearings" on attempting 
to penetrate the mazes of a Boston, a London or a 
Rome. The citizen, unused to guiding his course by 
the points of compass, is apt, in a strange place, to be 
"turned around;" the woodsman is likely to be em- 
barrassed by the strangeness of his environment when 
in a large city; he becomes confused by the ceaseless 
motion of the vast throng that surrounds him. A dif- 
ferent kind of observation is required in one case, 
from the other, and proficiency in either can be gained 
only by diligent practice. 



LOCALITY. 149 

The untutored savage, however, can learn to find 
his way, even in such a labyrinth as Boston, far more 
readily than can the city-bred person retrace his steps 
on the silent plain or through the lonely forest — for 
the training of the former has been more thorough; he 
has traveled miles while the other has traveled only 
rods; he had many physical obstacles to contend against 
which have been of material assistance in the educa- 
tion of his powers of observation, while the other's 
perplexities in that regard have been but few. 

In the acquirement of "locality memory," the most 
vital requisite of all is — observation, which is, in fact, 
the foundation-stone. Before a journey is undertaken 
whose course is not familiar, a map of the proposed 
route should be obtained if possible and thoroughly 
studied, particular note being taken of the location of 
mountains or lakes , the trend of plains or forests, and 
the course of valleys or streams. During the journey 
the scenery at various points should be closely ob- 
served — especially any conspicuous objects that pre- 
sent themselves, such as large trees, rocks, etc. If 
there are intersecting roads or trails, their direction 
should be carefully noticed, and after passing them 
the traveler should turn around and look at them as if 
approaching from that direction — being the return 
view. After the day's journey is ended it is w^ell to 
make a rough plan or sketch of the route traveled, as 
that will be a most efficacious means of impressing it 
on the memory. 

One of the most difficult things for any except an 



150 THE ART OF MEMORY. 

experienced traveler is to walk in a straight line. There 
is a strong tendency in most people to keep curving to 
the rights until, ultimately, a person may travel a com- 
plete circuit, returning to the place from whence he 
started, as has been known to occur in experience. This 
tendency can be counteracted in two ways: First, by 
adhering rigidly to the geographical course determined 
upon, using as a guide either the sun, a star, or the 
magnetic needle. Second, on determining the course 
to be taken, the eye should be fixed on as distant a 
point as practicable and the steps directed towards 
that spot, without swerving to either the right or left; 
as the point is neared another point on the same 
straight line and farther on, should be sought by the 
eye — this plan being continued while the same course 
is maintained. On going over a hill it is an excellent 
plan to take three poles or sticks and place them on 
the course that is being traveled, sighting them in care- 
fully so that they shall be in a perfectly straight line 
— then to take the last one and place it in front of the 
others, and continue the same process until some con- 
spicuous point can be sighted beyond the hill, to which 
the steps should be directed as before. In either of the 
above ways the tendency to keep turning to the right 
may be effectually counteracted. 

The inexperienced traveler, finding his course ob- 
structed by a lake or swamp, which he must go around, 
seldom travels far enough; and then, having, as he 
thinks, attained his course on the opposite side, he de- 



LOCALITY. 



151 



fleets too mueh towards the direction which he took 
in starting to go around. 

The following diagram illustrates this error — A B 
€ D indicating the route naturally taken by the unprac- 




B-- — 



A 



iiced traveler — and it is an error commonlv made when 
proper precautions are not taken. The way to obviate 
it is as follows: On approaching such an obstruction 
the line or course should be produced by the eye 
across the lake or swamp, and some prominent object 
sought for on the line thus projected, or as near to it 



152 THE ART OF MEMORY. 

as possible. At the same time some conspicuous object 
should be selected or placed near the observer, which 
can be seen from the other side when it shall haA^e 
been reached; by these means the desired point may be 
attained to and the direction preserved — the further 
production of the line or course being easy. 

The person who is journeying amid strange scenes 
should take especial care not to lose sight of the points 
of compass, for this knowledge is indispensable to the 
traveler w^ho would direct his course in an intelligent 
manner. 

To determine the direction which is to be traveled, 
any one of several means may be employed. The most 
reliable guide is a compass, which should be kept 
within easy reach at all times. 

In order to use a compass intelligently it is neces- 
sary to bear in mind that the needle points, not to the 
true pole, but to the magneMc pole. The North mag- 
netic Pole is about 1,360 miles from the North true 
Pole, and the South magnetic Pole about 1,150 miles 
from the South true Pole. On account of this differ- 
ence in the position of the magnetic and true poles, 
there are but few well-known points on the earth's 
surface where the magnetic needle points exactly to 
the north or south, and thus it is essential to know 
approximately how far east or west of d*ue north or 
south the needle points — in other words, what is its 
variation. 

Here is a table showing the variation of the mag- 
netic needle at several points on the earth's surface: 



LOCALITY. 15S^ 

NORTHERN HEMISPHERE. 

Pekin, 3° 00' West. 
Calcutta, 2° 54' East. 
Bombaj^ 0° 47' East. 
Constantinople, 3° 56' West. 
St. Petersburg, 0° 24' East. 
Berlin, 9° 52' West. 
Rome, 10° 20' West. 
Paris, 15° 00' West. 
London, 16° 36' West. 
New York, 8° 48' West. 
Chicago, 3° 36' East. 
St. Paul, 8° 50' East. 
Helena, 19° 32' East. 
Denver, 13° 50' East. 
San Francisco, 16° 36' East. 
New Orleans, 5° 36' East. 
Galveston, 7° 05' East. 

SOUTHERN HEMISPHERE. 

Melbourne, 8° 08' East. 

Cape Town, 29° 06' West. 

Buenos Ayres, 9° 10' East. 

Valparaiso, 14° 49' East. 

If the traveler does not possess a compass, the sun 
or a star may be used as a guide; when they are ob- 
scured the base of the largest trees should be exam- 
ined for moss, which, when found, will be noticed 



154 THE ART OF MEMORY. 

growing mostly on the side which is shielded from the 
sun's rays — viz., the north side of the tree in the 
Northern hemisphere and on the opposite side in the 
Southern. The proper way to use the sun as a means 
by which to indicate a particular point of compass will 
Tbe explained in a subsequent part of this chapter. 

The method of using a star to establish a designated 
course is, generally speaking, the most reliable of all. 
The ability to travel in any desired direction by aid 
of stars is of incalculable advantage to the traveler, 
and the subject is therefore deemed worthy of especial 
mention in this connection. 

Among the stars in the northern celestial hemis- 
phere, Po/aris (commonly termed the North, or Pole, 
Star) is the most useful to the traveler, as it never va- 
ries more than 1° 15' from true north, and can be 
easily located by means of the group of stars known 
as the "Dipper,'' or "Charles' Wain," comprising the 
most prominent portion of the constellation TJrsa Major 
("Great Bear"). The Dipper is composed of seven 
stars, of which a diagram is here given, showing the 
relation of Polaris thereto. The star represented by D 
in the accompanying diagram is of the fourth magni- 
tude; G and all of the others, including Polaris, are of 
the second magnitude. The two stars farthest from 
the handle of the "Dipper" (F and G) are termed the 
^^indices," or "pointers;" if produced about five times 
the distance from F to G, the line will be to the left 
of Polaris about half the distance between F and G. 
(It may here be remarked that Polaris is one of the 



LOCALITY. 155 

seven principal stars in the constellation Ur^sa Minor — 
"Little Bear'' — being at the tip of the tail). 

The following diagram shows the relative position 
of the various stars forming both Ursa Major and Ursa 
Minor : 



# 



* 



* 



^ i 

J 
I 
» 

I 

I 
I 

I 
I 
J 
I 

I 
J 
I 
I 
I 
I 
I 

I 
I 
I 
I 

J 

J 



^ 



*^ 



9k' 



^' 



£ 



4^ 



hi/i/f/s- 



All stars whose distance from the pole of the heav- 
ens is less than the latitude of the place of observa- 
tion, seem to move in a circle around that point once in 
each day, a star at or very near the pole appearing 
fixed. Polaris is so near the pole as to appear fixed 



156 THE ART OF MEMORY. 

and serves all practical purposes, as far as the North- 
ern hemisphere is concerned, to mark a north or south 
direction, and it is easily located. To an observer at 
the equator, Polaris appears close to the horizon, never 
rising more than 2° above it. In latitude 30° north it 
appears very nearly one-third of the distance from the 
horizon to the zenith; at 45°, nearly half way — and so 
on; at the North Pole it would appear almost directly 






0^T^^ ^iP^'-^'' 



overhead. In the Southern celestial hemisphere there 
is no conspiclious star near the pole, but there is a 
prominent constellation called the ^'Southern Cross," 
consisting of four principal stars (a diagram of which 
is here given), the constellation being considered as 
on the meridian, above the Pole. Beta and Gamma are 
of the second magnitude. Delta of the third, and Alpha 
Crucis of the first magnitude — being also the one near- 
est to the South Pole. 

The principal star of this constellation (Alpha Cru- 



LOCALITY. 



157 



eis) can be made use of to ascertain any given direc- 
tion from February 1st until about July 20th — it be- 
ing below the horizon at night during the remainder 
of the year. As this star is situated some distance 
from the Southern Pole of the heavens, and is there- 
fore constantly changing its apparent position, it is 
necessary to know the month, day and hour when the 
observation is taken, as well as the approximate lati- 
tude, in order to determine how many degrees east or 
west of the meridian the star is situated when observed. 
Tables are here given of the angular distance of 
Alpha Crucis east or west from the meridian on the 
first of the month indicated, at 10 p. m., in various 
latitudes. This angular distance is called the ^^ Azi- 
muth," and is measured on the horizon from the meri- 
dian to a point perpendicular to the star observed. 
The altitude of Alpha Crucis at each of the above dates 
is also given — ^the knowledge of w^hich will be of as- 
sistance in its location. (The ^^Meridian" is a North 
and South line, which the sun crosses at mid-day. The 
^'Altitude" of a star is its angular distance above the 
horizon — the distance from the horizon to the zenith 
being 90°.) In all cases the nearest degree is given, 
and the time is Hocal,'^^ mean time. 





Equator. 


Lat. 10° S. 


Lat. 20° S. 


Lat. 30° S. 


Lat. 40° S. 


Date. 












Azlm 


Alt. 


Azim. 


Alt. 


Azim. 


Alt. 


Azim. 


Alt. 


Azim. 


Alt. 


T^eb.l 


27° E. 


3° 


28° E. 


12° 


30° E. 


20° 


32° E, 


29° 


36° E. 


38° 


March 1 


23° E. 


15° 


25° E. 


24° 


28° E. 


33° 


31° E. 


42° 


38° E. 


50° 


April 1 


12° E. 


25° 


13° E. 


34° 


15° E. 


44° 


18° E. 


54° 


26° E. 


63° 


May 1 


3°E. 


28° 


3°W. 


37° 


3°W. 


47° 


4°W. 


57° 


6° W. 


67° 


June 1 


17° W. 


22° 


18° W. 


31° 


21° W. 


41° 


25° W. 


50° 


33° W. 


59° 


July 1 


25° W. 


12° 


26° W. 


21° 


29° W. 


31° 


32° W. 


44° 


37° W 


48° 



158 THE ART OF MEMORY. 

Should the observation occur at any other date or 
in any other latitude than that given in the table, the 
proper angle can be easily ascertained by a simple pro- 
portion, thus: Suppose the observation were taken on 
April 15th, in Latitude 25° S. In Lat. 20°, on AprU 
1st, Alpha Crucis is 15° east of due South; on May 1st,, 
it is 3° west; on April 15th, therefore, the angle would 
be half way between the two — or 6° east. In Lat. 30° 
the angle on April 1st, is 18° east; on May 1st, it is 4^ 
west; on April 15th, therefore, it is 7° east. The de- 
flection for Lat. 25° would thus be half way between 
6° east and 7° east, being 6° 30' east. 

For any other date or latitude the angle may be 
ascertained by proportion, in the same manner. 

As a guide for the remainder of the year, a very 
bright star named Fomalliaut is selected, the hour of 
observation being the same as in the case of Alpha 
Crucis (10 p. m.). 

Fomalhaut is a first magnitude star in the constel- 
lation known as Piscis AustraUs (^'Southern Fish"). 
It can be easily identified by its altitude above the ho- 
rizon at the time of observation — that being the 
brightest star south of an east and west line at the 
altitudes given, and east or west of the meridian on the 
dates mentioned. As there are only nineteen first- 
magnitude stars in both the Northern and Southern 
celestial hemispheres, the identification of either Fo- 
malhaut or Alpha Crucis at any period when either is 
visible will be easy. 



LOCALITY. 



159 



The table of Azimuths and Altitudes for Fomalhaiit 
is here given: 



Date. 


Equator. 


L.at. 10° S. 


Lat. 2l)° S. 


Lat. 30° S. 


Lat. 40° S. 


Azim. 


Alt. 


Azim. 


Alt. 


Azim. 


Alt. 


Azim. 


Alt. 

17° 
37° 
63° 
88° 
66° 
41° 
3° 


Azim. 


Alt. 


July! 

Aug. 1 

Sept. 1 

Oct. 1 

Nov. 1 

Dec. 1 

Jan. 1 


6U°E. 
57° E. 
42° E. 
4°E. 
39° W. 
56° W. 
87° W. 


0° 

24° 
47° 
60° 
50° 
28° 
2° 


60° E. 
61° E. 
51° E. 
6°E. 
48° W. 
61° W. 
87° W. 


8° 
29° 
54° 
70° 
57° 
33° 

2° 


62° E. 
66° E. 
64° E. 
11° E. 
63° W. 
67° W. 
88° W. 


12° 
33° 
58° 
80° 
63° 
37° 
2° 


64° E. 
73° E. 
82° E. 
84° E. 
82° W. 
75° W. 
88° W. 


68° E. 

80° E. 
101° E. 
169° E. 
104°W. 

82° W. 

88° W. 


21° 

39° 
87° 
80° 
65° 
48° 
3° 



TJie following tables will also be of interest in con- 
nection with the above, showing the time of day at 
which each of the stars is on the meridian, or due 
South from the observer: 



ALPHA CRUCIS. 


FOMALHAUT. 


Date. 


Hour. 


Date. 


Hour. 


Februarj" 1 


3:30 A. M. 
1:40 A. M. 
11:42 P. M. 
9:43 P. M. 
7:41 P. M. 
5:43 P. M. 


August 1 


2:08 A. M. 


March 1. .... 


September 1 


0:05 A. M. 


April 1 


October 1 


10:11 P. M. 


May 1 

June 1 


Novem.ber 1 


8:09 P. M. 


December 1 


6:12 P. M. 


July 1 


January 1 


4:08 P. M. 







Another way of finding any required course is by 
knowing its angular distance from the direction of 
the setting sun. There are two periods in the year 
when the sun rises exactly in the east and sets exactly 
in the west — at the time of the equinoxes, in March 



160 



THE ART OF MEMORY. 



and September; at all other times the sun rises and 
sets either north or south of due east or west. 

A table is here given of the angular distances of 
the sun, at sunset, from the Southern point of the 
heavens for various latitudes in the Southern hemis- 
phere, on the first of each month; the angle for any 
other date and latitude can be estimated by propor- 
tion, as before illustrated. 

For example: On the equator, on Jan. 1st, the an- 
gle formed by the setting sun v\^ith a due South line 
is 67°; in other words, the traveler would face the sun 
and turn off an angle to the left of 67°, which would 
indicate a true South course — or 113° turned to the 
right would give a due North course. 

On the same date, in 40° S. Lat., the angle of sunset 
with due South would be 59°: In the same latitude, 
180° less 59° (or 121°) would indicate the angle of 
sunset with due North. 

SUNSET AZIMUTHS, 



Date. 


Lat. 


Lat, 
20°. 


Lat. 
40°. 


Lat. 
60°. 


Date. 


Lat. 

o° 


Lat, 
20°. 


Lat. 
40°. 


Lat. 
60°. 


Jan. 1 


67° 


65° 


59° 


48° 


July 1 


113° 


114° 


120° 


142° 


Feb. 1 


73° 


72° 


67° 


54° 


Aug. 1 


108° 


109° 


114° 


128° 


Marcli 1.. 


83° 


82° 


80° 


75° 


Sept. 1..., 


98° 


98° 


100° 


106° 


April 1.... 


95° 


95° 


96° 


100° 


Oct, 1 


94° 


860 


85° 


830 


May 1 


105° 


106° 


no° 


122° 


Nov. 1 


105° 


74° 


71° 


60° 


June 1 


112° 


114° 


119° 


139° 


Dec, 1 


112° 


67° 


61© 


42° 



Having thus obtained the angle of the stars men- 
tioned, or of the sun, with reference to the South point 
of the horizon for the latitude and date required, the 



LOCALITY. 161 

next thing is to determine the true North and South 
course, and, in the absence of any instrument for meas- 
uring angles, the following simple plan is recom- 
mended: It is a geometrical fact that a triangle with 
sides of 3, 4 and 5, or any multiple thereof, is right- 
angled. Bearing this in mind, the observer should 
first drive a stake into the ground at A in the accom- 
panying diagram; then drive another stake at B 30 
feet distant from A and on line with the star Alpha 
Crucis, or Fomalhaut, as the case may be. Another 
stake should next be temporarily driven at C 40 feet 
from A as nearly at a right angle with A B as can be 
estimated; if correctly placed, the distance from B to 
C is 50 feet, and the interior angle at A is an exact 
right angle, or 90°. 

The next step is to measure on the line A B 57.3 
feet (or 57 feet 3^ inches) and drive another stake (D), 
and do the same on the line A C, driving a stake (E). 
Then the point A should be used as a centre — A D be- 
ing the radius — and an arc described from D to E ; this 
arc, it will be found, measures 90 feet, each foot of 
which represents a degree; then, from D measure on 
the line D E the number of feet corresponding to the 
number of degrees that Alpha Criicis, or Fomalhattt, is 
from the meridian; the point thus fixed (F) and A repre- 
sents a due North and South course, from which any 
direction desired can be marked off in the same way; 
in case it is not convenient to use English feet as a 
measure, any other unit of measure will answer. 

With the knowledge of the angle at which the sun 
11 



162 



THE ART OF MEMORY. 



or any star is situated with reference to the meridian, 
it is no more trouble to mark out a desired course from 
it than from Polaris, unless a due North or South 
course is required. 



^J./^A C/fUC/3 




In the diagram above referred to, and here given, 
it is assumed for the sake of illustration that Alpha 
Crucis (or Fomalhaut) is 30° West of the meridian. 

To readily find one's way in the mazes of a large 
city — while far less difficult than to pick out his route 
amid the solitudes of mountain, plain, or forest — yet is 



LOCALITY. 163 

by no means easy, and proficiency in that regard can be 
acquired only through carefully trained habits of ob- 
servation. 

There used to be an Englishman called "Memory 
Corner Thompson/' who possessed extraordinary pow- 
ers of observation. In the presence of two gentlemen 
he drew, in the space of twenty-two hours, and solely 
from memory, a faithful plan of St. James' and West- 
minster parishes — also portions of St. Martin, St. Ann 
and St. Marylebone parishes. Included in this plan 
were all the streets, courts, alleys, lanes, squares and 
markets; all the houses of worship and public build- 
ings; every tree, post and pump, and all the stables 
and yards — in short, every detail of any significance. 

A party of gentlemen from one of the western 
states started on a trip to the World's Columbian Ex- 
position, then in progress, each person providing him- 
self, before his departure, with a map of the buildings 
and grounds, and a diagram showing the location of 
the principal exhibits. On arriving at their destination 
one of the gentlemen could find his w^ay about the 
grounds with the utmost ease, without the aid of his 
map, and was familiar with the location of all the im- 
portant exhibits and many of the minor ones, and knew 
where every interesting spot in the grounds was situ- 
ated — while his companions knew but little of their 
surroundings, and on that account were compelled to 
either occupy valuable time in poring over their maps, 
or else had to rely upon him as their guide — which 



164 THE ART OF MEMORY. 

they soon found themselves only too glad to do. Their 
companion had so familiarized himself with his map, 
in his leisure moments, that upon arriving on the 
ground he had little need of the map, as he carried in 
his memory the location of every gateway, building, 
bridge or road — in fact, of every prominent object with- 
in the grounds. While his companions had neglected 
to study their maps until the immediate necessity 
should arise, he had studied his map so intelligently 
and thoroughly that every detail was indelibly im- 
pressed on his memory, and thus he had a marked ad- 
vantage over his companions when the time came to 
make a practical application of what he had memo- 
rized. 

Here is another illustration. Some years ago a 
party of American tourists made an extended trip 
through Europe and certain portions of the Orient. 
While the trip was an entirely new one to them all, 
yet one of the party exhibited a familiarity with the 
various places at which his fellow tourists could not 
but marvel. On arriving in a strange city he was able 
to pilot his companions about with a readiness almost 
equal to that of a native. He knew the location of the 
most prominent buildings, was familiar with the 
names and direction of the principal streets, and could 
travel from one point to another without the slightest 
hesitation. He also knew the relative situation of vari- 
ous points, both as to direction and distance; in short, 
without having had a guide's experience, he seemed 



LOCALITY. 165 

to possess the requisite qualifications of one in a re- 
markable degree. The secret of it all was that, in 
intervals when there were no more important demands 
upon his time, he was studying his guide-book, and 
thus familiarizing himself with the cities and villages 
which they were to visit, and the routes over whch they 
were to pass. 

On arriving in a city that he has not visited, the 
traveler should ascertain which are the most important 
streets, the loftiest buildings, the tallest spires, the 
location of the Postofflce and other public buildings, 
the best known stores and hotels, the principal 
churches, chief places of amusement, the system of 
street numbering, where the railroads and main street 
car lines are located, etc. When all this is known, or 
the greater part of it, the location of other places and 
objects becomes easy, for the less is readily remem- 
bered by knowing its reference to the greater; it is not 
necessary to know the points of compass — it is usually 
sufficient to know the relation of the streets of less con- 
sequence to the principal ones — but it is better to find 
out the direction of the main streets. 

If the city be of considerable size, to get a pocket 
map and study it before starting out, will save much 
time and trouble; the location of one's hotel or place 
of sojourn should be specially marked on the map; 
then, on starting off, the surroundings should be 
carefully noticed; the street number should be jot- 
ted down in memorv, also the names of the nearest 



166 THE ART OF MEMORY. 

cross streets; then, in going about, the traveler should 
bear in mind how many corners are turned, and wheth- 
er to the right or left, how various streets intersect, 
what and where are the prominent landmarks, etc.; 
one should frequently look backward, so that when 
the steps shall be retraced various objects may be 
easily recognized. A person can become pretty well 
familiarized with a strange city in a very short time, 
by the exercise of close and intelligent observation — 
by paying strict attention to whither his footsteps are 
tending, never allowing the mind to wander, but direct- 
ing its activities w^hoUy to the matter in hand. 

No faculty which we possess is more deserving of 
faithful cultivation than Observation. It is the key-note 
to good ^'locality memory,'^ and becomes of the utmost 
value while threading the mazes of a great city, or 
when journeying amid scenes of wild and uncouth life. 
He who scans closely his surroundings, and notes care- 
fully where he is going, can scarcely fail to eventu- 
ally acquire an excellent memory for Locality, and 
when he shall have once gained it he can rely on its 
proving a permanent possession- — while he who plods 
carelessly along, paying little attention to what is 
about him and whither his footsteps are tending, will, 
whenever thrown amid strange scenes, be as a child 
in respect to the strength of his ^^locality memory" — 
and must ever continue so unless he shall apply him- 
self sedulously to cultivating his powers of observa- 
tion, and by so doing make amends, at least in part, for 
his neglect of similar opportuaities in the past. 



LOCALITY. 167 

He, therefore, who is desirous of attaining profi- 
ciency in ^'locality memory" should avail himself of 
every fitting opportunity to put into practice such of 
the above methods as may be applicable in his case, 
and he will find, in the rapid augmentation of his power 
of recognizing the essential features of localities once 
visited, an ample recompense for the time and effort 
involved. 



CHAPTER IX. 



FORM. COLOR. 



Memory of Form recognizes and retains the various 
details presented to the vision which combine in the 
formation of a being or thing, and their relation to 
each other, and is able to make a proper comparison 
of the same with details of other beings or things. 

Its chief point of difference from Memory of Local- 
ity is in the fact that the latter deals only with things 
and with their distribution; that is, their position with 
reference to each other, without regard to their pro- 
portions — a general idea of their size, shape, and color 
being usually sufficient for the purposes required — 
while Memory of Form deals with both beings and 
things, taking cognizance only of the element of pro- 
portion, as applied thereto, and disregarding their rela- 
tive situation; it has nothing to do with size (using the 
term in an arbitrary sense) nor with distance — but can 
compare details of shape or configuration. 

Painters, Sculptors and Architects are especially 
endowed with Memory of Form; they see with their 
mental eyes forms which they have gazed upon, as well 

(168) 



FORM. COLOR. 169 

as forms which have no prototype except in Fancy, and 
of which their handiwork often becomes the embodi- 
ment. 

Michael Angelo had a memory of Form that was 
most notable. On a certain occasion several fellow- 
artists, among whom was Angelo, made a wager as to 
which one could the most faithfully reproduce some 
caricatures which they had recently noticed. The 
wager was easily won by Angelo, who made from mem- 
ory an almost exact copy of the originals. 

Cuvier, the distinguished naturalist, possessed such 
a wonderful memory of Form that when he had once 
examined any object belonging to the animal kingdom, 
however intricate its structure, its details never for- 
sook his memory. Turner, the great English painter, 
could make a rough outline sketch of a landscape, and 
months afterwards fill in all the details, even the most 
trivial, with an accuracy that was almost inconceiv- 
able. Upon gazing carefully at a ship its details would 
become so thoroughly impressed on his vision that he 
could afterwards reproduce them from memory with 
absolute fidelity. Vernet and Dore could paint por- 
traits with the most minute accuracy entirely from 
memory — indeed it may be accepted as a truism that 
a good memory of Form is a sine qua non of every great 
painter or sculptor. He who possesses this faculty 
carries in his mind vivid images of forms and scenes 
that from time to time have been impressed upon his 
sight — which images may be symbolized by a vast col- 
lection of pictures, any of which can be brought forth 



170 THE ART OF MEMORY. 

at will and flashed upon the screen of his mental vision. 

A Beethoven, while composing his immortal sym- 
phonies, hears an imaginary orchestra; — the majestic 
measures of exaltation — the gentle cadences of tender- 
ness and of pathos — each strain of ecstasy — each wail 
of despair — all are vividly impressed on his mental 
hearing. A Sir Christopher Wren carries in his mental 
vision a faithful image of the St. Paul's Cathedral that 
is to be, for long before the corner-stone is laid. A 
Howe mentally beholds his sewing machine at work^ be- 
fore the first stitch has been taken; and a Blackburne, 
or a Steinitz, as he simultaneously plays a dozen or 
more games of chess blindfold, sees the position of the 
men on each board, in turn, as he comes to play. 

So, too, a Canova sculptures in fancy his "Theseus'' 
ere the formless marble feels the first impulse of his 
chisel; a Kubens paints in imagination his famed 
"Judgment of Paris" before his brush ever touches the 
canvas; a Titian pictures in his mind's eye his "As- 
sumption," an Angelo his "Last Judgment," a Kaphael 
his "Transfiguration," a Leonardo da Vinci his "Last 
Supper'^^ — all before those noble images of Fancy have 
begun to take definite shape under the inspiration of 
the master's touch. 

For the proper cultivation of Memory of Form, the 
following plan is recommended: 

Let the student take some ordinary object, as a 
vase, examine it closely and then shut his eyes for a 
few moments, endeavoring to mentally picture its exact 
appearance; then let him open his eyes and look at 



FORM. COLOR. 171 

the object again, to ascertain how nearly correct was 
his mental conception; he will be almost certain to tincl 
some details that he had not noticed before. Let him 
repeat the process until all the details shall have been 
accurately imprinted on the mental vision. Then he 
should take a pencil and paper and make a drawing of 
the vase, keeping the original out of sight. Upon the 
drawing being completed a comparison should be made 
between the two and a new drawing made, in which 
the errors in the first one are corrected as carefully as 
can be estimated, and another comparison made with 
the vase. Let this plan be continued until a reason- 
ably accurate copy of the original can be made. No 
matter how little experience the student may have 
previously had in drawing, he will certainly be able 
after a few trials to correctly copy a simple object, as 
above. After this the same process should be repeated 
with a more complex object, and with practice the stu- 
dent will eventually develop an accuracy of observa- 
tion that he would at first have deemed hardly possible. 
Finally, after this practice shall have been sufficiently 
persevered in, the student will be able to reproduce at 
will, in his mental vision, the minutest details of any 
object that he has once attentively gazed upon — from 
a simple block of wood to the most majestic statuary, 
— from the merest toy to the most imposing and gor- 
geous edifice. And this will be accomplished, too, al- 
most without conscious effort; the visual memory will 
have become so thoroughly trained that impressions 



172 THE ART OP MEMORY. 

will be received and retained by it with but slight ex- 
ercise of the will power. 

Included in Memory of Form is that of Features — 
the essence of the latter being expression. 

In the animal kingdom, dogs and elephants are es- 
pecially gifted in the memory of features. Numerous 
instances are known in which dogs were able to iden- 
tify their master when the latter was so skilfully dis- 
guised as to completely baffle the recognition of his 
most intimate friends. Elephants have been known 
to single out and punish, even unto death, persons who 
had played contemptible tricks on them long before; 
they have also been known to remember kindnesses 
and those who performed them, with equal readiness. 
"An interesting instance of the latter kind was related 
in the New York Sun several years ago, of a man named 
Quinton, who lived in Colombo, Ceylon. On a certain 
occasion a herd of elephants was in the town and Quin- 
ton Vent to see them. One elephant was tied up with 
more chains than the others, and Quinton went toward 
that one, in spite of being warned by the keepers that 
he was a particularly vicious beast. Quinton put his 
arm around the elephant's trunk and petted it, the ele- 
phant seeming much pleased. He recognized the ani- 
mal as one that several years previously he had seen 
injured by a large thorn, which he had dug out with a 
knife and pair of pincers, the elephant, in spite of the 
pain, allowing the thorn to be taken out. Quinton 
identified the beast by the scar, and the elephant rec- 
ognized his benefactor after all these years. 



FORM. COLOR. 173 

Vidocq, the famous French detective, possessed 
such a wonderful memory for faces that after he had 
once seen a criminal's features he never forgot them, 
however cleverly they might be disguised. A forger 
once made his escape from prison and left the coun- 
try entirely, remaining away for a dozen years. Dur- 
ing that period he had become quite bald, and once in 
a drunken brawl lost an eye and a portion of his nose. 
Confident of now being so thoroughly disguised that no 
one could possibly recognize him, he returned to Paris 
and walked about the streets with the utmost boldness. 
Shortly afterwards he was arrested as a suspicious 
character and brought before Vidocq, by whom he was 
at once recognized as the escaped forger and sent back 
to prison to serve out the balance of his term. 

Perhaps no public man of modern times had a more 
remarkable memory for faces than Henry Clay, of 
whose abilities in that regard there are numerous well- 
attested instances, the following being one of them: 
During one of his campaigns Clay stopped for a few 
hours at Clinton, Miss. As soon as his presence be- 
came known, a large throng gathered to meet him, 
among the crowd being a vigorous old man with only 
one eye, who pressed forward and insisted that the 
distinguished statesman would surely recognize him. 
Clay gave the man a keen glance and said: "Where 
did I meet you before?'' 

"In Kentucky," was the response. 

"Did you lose your eye before or since that time?" 
the statesman asked. 



174 THE ART OP MEMORY. 

"Since,-' the old man replied. 

'^Turn the side of your face toward me, so that I 
can see your profile," said Clay. 

The man did so. After a brief scrutiny of his pro- 
file Clay said: "Weren't you one of the jury that gave 
me a verdict in the noted case of the United States 
versus Innis, at Frankfort, twenty-one years ago?'' 

"Yes, sir," said the old man trembling with delight ! 

"And isn't your name Hardwick?" 

"Yes, it is," the man replied, rushing forward and 
grasping Clay's hand. Then, turning to the wonder- 
ing crowd, the old man continued: 

"Didn't I tell vou that he'd remember me? He 
never forgets a face!" 

The celebrated painter, Leonardo da Vinci, invent- 
ed a most ingenious method for identifjing faces, and 
by it is said to have been able to reproduce from mem- 
ory any face that he had once carefully scrutinized. 
He drew all the possible forms of the nose, mouth, chin, 
eyes, ears, and forehead, numbered them 1, 2, 3, 4, etc., 
and committed them thoroughly to memory; then, 
whenever he saw a face that he wished to draw or paint 
from memory, he noted in his mind that it was chin 4, 
eyes 2, nose 5, ears 6 — or whatever the combination 
might be — and by retaining the analysis in his mem- 
ory he could reconstruct the face at any time. Such 
persons as railway conductors, detectives, hotel clerks^ 
and porters, and bank tellers, through the exercise of 
their particular calling, acquire a memory for faces 
that seems marvelous — and yet this faculty is rarely 



FORM. COLOR. 175 

a pure gift of Nature, but is developed through assid- 
uous practice. 

Eegarding the cultivation of Memory of Features, 
the following suggestions are offered : Upon first meet- 
ing a person whose identification is desired, should he 
be met in the future, the details of his features should 
be studied critically, and the color of his eyes and hair 
noted; also whether he is light or dark, tall or short, 
thin or corpulent, and what are the peculiarities, if 
any, in his general appearance. 

After these various details shall have become suffi- 
ciently impressed on the mind, an association should 
be formed with surrounding objects, the whole being 
associated with the time and place and attendant cir- 
cumstances. The matter of associating the person's 
features with his name comes under another branch of 
memory-culture and will be considered in a subsequent 
chapter. It is of first importance that the features 
should be remembered: unless this is done the name 
will be of little consequence as a means of recognition. 

Closely associated w^ith Memory of Form and also 
that of Locality, is Memory of Color. The various ob- 
jects in Nature are far more easily recognized if their 
color has been impressed on the mind than if it has not. 
The various parts of a figure or the details of a building 
are more readily retained in the memory if there is a 
variety of color represented. So, too, with a plan, map 
or painting; and the fact that a person's eyes are either 
blue or brown, the hair red or black, enables us to 



176 THE ART OF MEMORY. 

carry the features in our memory with all the greater 
ease and certainty. 

Color is not only a powerful auxiliary to Sight- 
Memory — it is indispensable to its thorough cultiva- 
tion. A well educated memory for Color is not only 
of great practical use, at times, but it also affords 
the keenest enjoyment throughout life. The green 
fields and bright flowers of summer, and the varie- 
gated hues of autumn, are both delightful to the eye 
and refreshing to the spirit. What true poet is not 
an ardent worshiper at the shrine of Nature, with 
her incomparable wealth of color, light and shade? — 
And what real artist does not love to essay on canvas 
the imitation of the varied tints of nature? Color is 
indeed useful in bringing out more prominently the 
particulars of Form, and by its aid the details of Fea- 
tures are surely more deeply impressed on the memory. 
While there are many to whom the true appreciation 
of color is a gift, pure and simple, yet there are few who 
cannot by dint of earnest study become well versed in 
the memory of color — and it may be truly said that in 
its cultivation there is no drudgery; while proficiency 
cannot, it is true, be attained except by practice, yet 
this practice in its very nature yields naught but sat- 
isfaction; it never brings clouds and discontent — it 
yields only sunshine and delight. 

Regarding the proper methods to be pursued in the 
cultivation of Memory of Color, it is suggested that the 
student first acquire an intimacy with the appearance 
and name of each of the colors in common use; and 



FORM. COLOR. 177 

after this is done let him proceed to gam a like famil- 
iarity with the various tints and shades properly be- 
longing to such colors; it will also be interesting and 
instructive to know by what combination each is pro- 
duced. 

It is important not only th'at the eye should be so 
trained that a color, tint or shade may be promptly 
identified when seen, but also that its name should be 
memorized, as the latter is of material assistance in 
impressing the former on the memory; by giving any- 
thing a name, whether it be an object of vision, sound, 
or thought, we invest it with an identity which enables 
the consciousness to retain it far more faithfully than 
by any other means. 

Of the two hundred or more colors, tints and shades 
used commercially and in the purposes of art, it is un- 
doubtedly desirable, from an educational point of view, 
to have an intimate acquaintance with the greater por- 
tion, but it will not be necessary to become familiar 
with more than a respectable minority of them to be 
reasonably versed in the memory of color. 

It is well for the student to make frequent compari- 
sons with each other, of the colors, tints and shades 
found in nature and art, and to mentally name them as 
they are recognized, that the impressions of them may 
become more strongly intrenched in the memory; and a 
familiarity with the laws governing harmony of color 
will give added interest to such comparisons. 

For the convenience of students not conversant with 
those laws a list of the principal colors and the ones 
with which they harmonize is herewith appended. 

12 



178 THE ART OF MEMORY. 

Colors are divided into three Orders — Primary, Sec- 
ondary, and Tertiary. 

The Primary colors are Yellow, Eed and Blue. 

The Secondary colors are Green, Orange and Purple. 

The Tertiary colors are Citrine, Kusset and Olive. 

Any two of the primary colors mixed in equal pro- 
portions produce a perfect secondary c*olor. Thus 
Yellow and Blue produce Green, Yellow and Eed form 
Orange, and Eed and Blue produce Purple. Each of 
the secondary colors thus produced harmonizes with 
the remaining primary color. 

Any two of the secondary colors mixed in proper 
proportions produce Tertiary colors. Thus, Green and 
Orange produce Citrine, Orange and Purple form Eus- 
set, and Green and Purple produce Olive. 

A proper mixture of either of the three Orders of 
colors produces Black, whose opposite is White^ — both 
of those colors being termed neutral, 

A disproportionate mixture of either of the three 
Orders of colors, or of all together, produces Brown. 

By mixing the primary colors in varied proportions 
are produced all hues of color. The dilution of these 
hues with White forms tints; or the introduction of 
Black produces shades of color. 

As a general proposition the various colors harmo- 
nize as follows: 
Yellow harmonizes with Eed, Purple, Eusset, Black, 

and Brown. 
Eed harmonizes with Yellow, Green, Eusset, Black, and 

White. 



FORM. COLOR. 179 

Blue harmonizes with Orange, White, Black, and 

Brown. 
Green harmonizes with Eed, Orange, Citrine, and 

Brown. 
Orange harmonizes with Blue, Green, Eusset, White, 

and Brown. 
Purple harmonizes with Yellow and Orange. 
Citrine harmonizes with Yellow, Orange, Green, and 

White. 
Russet harmonizes with Yellow, Red, Orange, and 

Brown. 
Olive harmonizes with Blue, Green, and Brown. 
Black harmonizes with Yellow, Red, Blue, Orange, and 

White. 
White harmonizes with Red, Blue, Orange, Citrine, and 

Black. 
Brown harmonizes with Yellow, Blue, Green, Orange, 

Russet, and Olive. 



CHAPTER X, 



FIGURES. 



In all the mnemonical systems of any pretension 
which have appeared since the revival of learning — 
especially since the time of Feinaigle, nearly a century 
ago — it seems to have been the uniform assumption 
that memorizing figures is one of the most difficult of 
all accomplishments in mnemonics, and that the sub- 
ject of its cultivation is worthy of the most extended 
research and thorough elucidation. 

The necessity of using figures to express number 
has been recognized ever since man became a reasoning 
being, and is a necessity which must continue while 
civilization lasts, and figures therefore deserve to oc- 
cupy as important a place in memory culture as words 
themselves. 

Napoleon possessed a wonderful memory, and was 
perhaps as gifted in that of figures as in any other 
line; it is said that numbers which he had once seen 
he never forgot. Herschel could remember all the fig- 
ures in any of the long and intricate mathematical 

(180) 



FIGURES. 181 

computations necessary in his astronomical researches. 
He frequently worked out a calculation of great length 
and then dictated the whole to an amanuensis from 
memory alone. Tycho Brahe, the eminent Danish as- 
tronomer, had a marvelous memory for figures. On one 
occasion, to save himself the inconvenience of refer- 
ring to the tables of square and cube roots, of which 
he had to make frequent use, he committed the tables 
to memory, within four hours. This feat involved the 
recollection of over 60,000 figures. Euler, the cele- 
brated Swiss mathematician, also had one of the most 
w^onderful memories of its kind known. In his later 
years he became almost blind, but notwithstanding 
this misfortune was able to perform the most intri- 
cate calculations mentally. He learned the first six 
powers of all the numbers from one to one hundred, 
and achieved many other wonderful feats of memory. 
John Wallis, a great English mathematician, possessed 
one of the most remarkable memories for figures ever 
known. He could mentally extract the square root of 
a number to forty decimal places. While in bed and in 
the dark, he extracted the cube root of a number con- 
sisting of thirty figures. 

In 1837 a boy named Bassie, who was only thirteen 
3^ears of age, gave a series of mnemonical performances 
in London which excited great interest among mathe- 
maticians. Five large sheets of paper covered with 
closely printed tables and dates, planetary distances, 
velocities, specific gravities, etc., were distributed 
among those present, who were requested to ask such 



182 THE ART OF MEMORY. 

questions as they might wish whose answers were in- 
dicated on the sheets — and in every case the correct 
answer was given. He could repeat long series of 
numbers in the tables both forward and backward; and 
to prove that his powers were not confined to the num- 
bers in the tables, he allowed the whole audience to 
form a long series by each one contributing two or 
three digits in the order in which they happened to sit. 
After studying this series for a few minutes he re- 
peated it both forwards and backwards from beginning 
to end. He could also name the day of the week on 
which any date had fallen, in any year. 

A man named Dase, who was born in 1824, is said to 
have multiplied together mentally two numbers of a 
hundred figures each! • Another extraordinary calcu- 
lator was an illiterate boy named Vito Mangiamele, 
the son of a Sicilian shepherd. He went to Paris in 
1839, where on July 3rd of that year MM. Arago, Sturm, 
and Lacroix, eminent members of the Paris Acad- 
emy of Science, met to examine this remarkable boy, 
only ten years of age, whose powers of mental cal- 
c^ulation were the wonder of the scientific world. 
Among other feats he extracted the cube root of 3,796,- 
416 in half a minute, and the tenth root of 282,475,289 
in three minutes. The following complicated question 
was asked him: "What number has the following pro- 
portion: That if five times the number be subtracted 
from the cube plus five times the square of the num- 
ber, and nine times the square of the number be sub- 
tracted from that result the remainder will be 0?'^ M. 



FIGURES. 183 

Arago repeated the question a second time, and when 
he was finishing the last word the boy answered: "The 
number is 5." 

At the time of the great Chicago fire all the books 
and accounts of the Merchants' Loan and Trust Com- 
pany were destroyed, and it was thought that the bank 
would be obliged to go into liquidation on that ac- 
count. But the cashier, Charles Henrotin, within six 
weeks, through the exercise of his memory alone, re- 
stored the accounts in their entirety, and prepared a 
new ledger, to the complete satisfaction of both the de- 
positors and directors. In 1896 there was a man em- 
ployed on one of the Chicago railroads whose duty it 
was to keep a record of the different cars as they came 
into the yard. He would step out on the platform as a 
train approached and make an accurate mental record 
of the number and position of each car, from the first 
car to the caboose, however long the train. While 
doing this he did not hesitate to engage in conversa- 
tion with any acquaintances who happened to be near 
him. 

Charles Dorr, a bartender at Coakley's Hotel, on 
Geary street, San Francisco, has a remarkable memory 
for figures. He knows the exact location of every fire, 
police-patrol, and telephone box in the city. Give him 
the name of a street and he will tell the numbers of all 
the street cars which run on that street. He can tell 
the location of any house number in the city and the 
nearest telephone number; he can tell also the number 
of the badge of any policeman on the force. If a row 



184 THE ART OF MEMORY. 

of as many as twenty figures is shown him, he will 
simply glance along the row and a month later can cor- 
rectly repeat every figure in its order. He is amaz- 
ingly quick at ordinary mathematical calculations, as 
multiplying six figures by six figures in a few seconds. 
His memory seems to hold in a vise-like grip every- 
thing that he sees and reads and much that he hears. 

And what shall we say of those mathematical enig- 
mas, George Bidder, Jedediah Buxton, and Zerah Col- 
burn, whose performances were still more wonderful? 
Bidder, at eight, told almost instantaneously the num- 
ber of farthings in £868 42s 121d, and performed many 
other feats of a similar character. At ten years of 
age he could add two rows of twelve figures, giving 
the answer immediately, and an hour afterwards re- 
member the two rows. 

Jedediah Buxton, an illiterate English peasant,, 
could perform the most laborious calculations mentally, 
and with surprising correctness. His memory for fig- 
ures was so great that he could begin a computation, 
and, without finishing it at the time, resume the opera- 
tion months afterwards at the point where he left 
off, and complete the calculation. While in a field he was 
suddenly asked how many cubical eighths of an inch 
there were in a quadrangular mass 23,145,789 yards 
long, 2,642,732 yards wide, and 54,965 yards in thick- 
ness. He gave the correct answer from his head in a 
short time. He could step over a tract of land, how- 
ever irregular its outline, and compute its square con- 



FIGURES. 185 

tents with almost as much exactness as if it had been 
measured with a chain and compass. On one occa- 
sion he measured a landed estate of irregular shape 
containing about a thousand acres, simply by pacing 
around it and then across at various points, after 
which he made a computation of the square feet com- 
prised in the several subdivisions and added them to- 
gether. He gave the contents in acres and perches^ 
and then reduced the same to square inches. Subse- 
quently, for his own amusement, he further reduced 
the contents to square hair's breadths, estimating 2304 
to the square inch, being 48 to each side. These cal- 
culations were all performed mentally, the final result 
consisting of fourteen figures! When about fifty years 
of age Buxton visited London, where he appeared before 
the Royal Society and was tested as to his arithmetical 
powers with the most astonishing success, answering 
ever^^ question which he undertook with absolute ac- 
curacy. 

Zerah Colburn was a still more remarkable arith- 
metical prodigy than any of those who have been men- 
tioned. He was born in Vermont, just a century later 
than Buxton (1804). He knew nothing whatever of the 
rules of arithmetic, nor even how to read or write, un- 
til after the jDerformance of the feats in numbers which 
were the amazement of the scientific world. His ex- 
traordinary talents began to be developed w^hen he 
was only six years of age, and became so conspicuous 
that his father took him from place to place in the 



186 THE ART OF MEMORY. 

Eastern States, where the boy's marvelous powers 
were exhibited to interested audiences, and was sub- 
sequently induced to take him to England, where nu- 
merous exhibitions were given of the extraordinary 
gifts of young Colburn, who was then less than eight 
years of age. For instance, he could determine with 
the greatest facility the exact number of minutes or 
seconds in any given period of time. Being asked how 
many minutes there were in 48 years, he gave the an- 
swer, 25,228,800, before the question could be written 
down — and instantly added that the number of sec- 
onds was 1,513,728,000. He was asked to tell the num- 
ber of seconds in 11 years, and it took him only four 
seconds to give the solution — 346,896,000. He was 
asked how many days and hours there were in 1811 
years; the answer was given in twenty seconds — 661,- 
015 days, or 15,864,360 hours. He also gave the num- 
ber of seconds in 1813 years, 7 months, and 27 days, 
with corresponding facility. He could also tell al- 
most instantaneously the product of any number con- 
sisting of two, three, or four figures, multiplied by a 
like number of figures; and he could at once give all 
the factors of any number consisting of six, or seven 
figures; he could also extract square or cube roots 
with amazing rapidity and accuracy, and name prime 
numbers. On one occasion he succeeded in raising the 
number 8 progressively up to the sixteenth power! — 
the answer being 281,474,976,710,656. At another 
time he was asked to give the square root of 106,929; 
and before the number could be written down he an- 



FIGURES. 187 

swered 327. He was then requested to extract the 
cube root of 268,336,125; and with equal facility he 
answered, 645. He was asked to give the product of 
21,734 multiplied by 543 — and immediately replied, 
11,801,562. He named the squares of 244,999,755 and 
of 1,224,998,755 with ctHrectiiess and dispatch, and cal- 
culated the cube root of 413,993,348,677 in just five sec- 
onds. One of the gentlemen present requested him to 
name the factors that produced the number 247,483 ; 
without hesitation he answered, 941 and 263 — which 
are indeed the only numbers that will produce it. He 
was then asked to give the factors of 36,083; and at 
once said that it had none — which is true. The lead- 
ing French mathematicians had announced the num- 
ber 4,294,967,297 as a prime number. Young Colburn 
was asked if he could give its factors; in a few mo- 
ments he stated that they were 641 and 6,700,417. On 
another occasion he was asked to name the square of 
999,999. He instantly answered, 999,998,000,001. He 
then further illustrated his powers by multiplying the 
above sum by 49 and the product by the same number, 
and the whole by 25 ! Many other questions of a simi- 
lar Character were propounded to him at various times, 
and he invariably answered correctly. His calcula- 
tions were performed with inconceivable rapidity, and 
yet he was unable to describe the mental process by 
which he arrived at the results. 

The above illustrations show the wonderful power 
of memorizing figures which has been possessed by per- 



188 THE ART OF MEMORY. 

sons having peculiar gifts not possessed by ordinary 
people; they had a genius for remembering figures — 
and genius knows no laws. 

It is not to be expected that through any course of 
training, however arduous, the average individual can 
succeed in performing feats such as have been above 
described — nor is it essential that he should; the ob- 
ject of gaining proficiency in the memory of figures is 
for the educational and practical uses of life — not for 
the achievement of sensational feats; and it is within 
the power of every person of ordinary mental capacity 
to attain proficiency ; it is only necessary that the men- 
tal energies be rightly directed, and not allowed to 
wander into uncertain paths, however alluring 

The chief difficulty which is commonly considered 
to attend the memorizing of figures, is the abstractness 
of their character; nearly all words, except proper 
names, possess a meaning — figures in themselves have 
none; and as the mind, in contemplating anything 
either spoken or. written, instinctively evades such 
sounds or words as possess no meaning, but rather, by 
a sort of natural selection, seeks such ones as have a 
meaning in themselves — so mnemonicians in general, 
realizing that fact, have attempted to effect a transla- 
tion of the abstract into the concrete by the use of de- 
vices for artificially translating figures into words, 
their theory being that a word or phrase into which the 
figures have been thus translated would be more easily 
recollected than the figures themselves — however lack- 
ing in significance the word or phrase might be, and 



FIGURES. 189 

however remotely it might be related to the fact or 
idea represented by the figures. 

The idea of translating figures into words seems to 
have originated with Johann Winckelmann about two 
centuries and a half ago^ — at least he is the first mne- 
monician who succeeded in putting the idea into prac- 
tical shape — and his system has been elaborated from 
time to time since then by various teachers of mnemon- 
ics of more or less note, until the so-called "figure al- 
phabet" has been developed from the crude form in 
which it first appeared, into a model of theoretical per- 
fection, the artificial relation that it establishes be- 
tween each numeral and the letter or letters of the al- 
phabet which it represents, being explained on an ap- 
parently logical basis. 

In recent years the "figure alphabet" has even been 
virtually made the basis of an entire mnemonical sys- 
tem — the whole reliance for the re-establishment of 
a date, or any other series of figures, resting upon the 
theory that some particular word or words (into which 
the figures in question have been arbitrarily trans- 
lated by means of the "figure alphabet") may be in- 
fallibly recalled to mind through reproducing a chain 
of association previously established between such 
word, or words, and other words, however slight or 
incongruous may be the natural connection between 
them. 

The "figure alphabet," in spite of the state of theo- 
retical perfection to which it has been developed, is 
not, and never can be, other than a mere curiosity in 



190 THE ART OF MEMORY. 

mnemonics; it cannot be successfully used in practice, 
either primarily or as an auxiliary, as a means of mem- 
orizing figures; it is a hindrance to memory-develop- 
ment, instead of a help, and the sooner it is perma- 
nently rejected, as an essential part of mnemonics, the 
better for the cause of memory-culture. 

By those who have become impressed with the 
sophistries of the so-called "correlation'' theory, the 
above statement may be received with more or less in- 
credulity — but it is entirely true, nevertheless; and it 
is furthermore a fact that figures may be retained in 
the memory with as little difficulty as certain classes 
of words — notably proper names. 

The best way to memorize a number is to note care- 
fully iJie relation which the figures forming the number hear 
to each other. Let the student make his practice con- 
form to this basic proposition in accordance with the 
suggestions given in the pages which are to follow, and 
in a comparatively short time, with reasonable dili- 
gence, he will be able to memorize with ease any num- 
ber consisting of either one, two, three, or four figures, 
— it seldom being necessary to recollect a number 
which contains more than four figures; thus the rec- 
ollection of an historical date, or a house number, or a 
monetary sum, would in most cases be the only pur- 
poses for which even four figures would be required. 
Distances can usually be indicated with sufficient ex- 
actness by three figures and annexed ciphers, whether 
they be terrestrial or astronomical distances; it is sel- 
dom necessary to use more than three figures to rep- 



FIGURES. 191 

resent heights or depths, measures of weight or ca- 
pacity, degrees of temperature or of latitude or longi- 
tude — and so on; and even should it ever be found 
necessary to retain in the memory a number consisting 
of more than four figures, the principle by which it may 
be best memorized remains the same. 

It is evident that a number represented by one nu- 
meral is the least difficult to recollect, as it consists 
of a single character, or symbol, as 1, 4, 6, 7, etc. 

Next in order of difficulty to retain in the memory 
are numbers below 100 ending with a cipher, as 10, 20, 
30, etc., for there is but one numeral to keep in mind — 
a cipher not being a numeral — and each succeeding 
cipher, up to a reasonable limit, adding but little to 
the task of memorizing. 

A number consisting of two figures comes next, the 
least difficult to recollect of this class being a number 
in which the first figure is repeated, as 11, 22, 33, etc. 

A number ending with a 5 is next, the number be- 
ing divisible by its terminal figure, which is the middle 
one of the nine numerals, as 15, 25, 35, etc., and the 
quotient being always odd. 

Next come numbers in which the figures are in pro- 
gressive order and the number even, as 12, 31, 56, or 
78; then a number whose figures are in retrograde or- 
der and the number also even, as 98, 76, 54, or 32. 

After this are numbers whose second figure is a 
multiple of the first, as 24, 26, 28, 36, 39 and 48; then 
numbers whose first figure is a multiple of the second, 
as 93, 84, 82, 63 and 42. 



192 THE ART OF MEMOKY. 

Next come numbers which are the squares of the 
various numerals above 3, as 16, 25, 36, 49, 64 and 81; 
then numbers which are the cubes of the smaller nu- 
merals, as 27 and 64. 

After this are numbers in which both figures are 
even, but neither of them a multiple of the other — being 
the numbers 46, 68, 86 and 64. 

The next are numbers in which both figures are odd 
and not divisible one by the other, but the number not 
a prime one — being 51 and 57; and lastly, prime num- 
bers between 10 and 100, ending respectively in 1, 3, 7 
and 9; being the numbers 31, 41, 61 and 71; 13, 23, 43, 
53, 73 and 83; 17, 37, 47, 67 and 97; 19, 29, 59, 79 and 
89. 

And now we come to numbers of three figures. In 
such cases it is usually best to begin by memorizing 
the first figure separately from the others; then to 
memorize the number formed by the last two figures — 
carefully noting, in the first place, whether the number 
formed by the two last figures is a multiple of the 
first figure; and in the second place, what relation 
the first figure bears to the second; for instance, wheth- 
er both figures are identical; whether either one is 
divisible by the other; whether both are odd, or even, 
or mixed, or by how much of an interval the two are 
separated; but in no case should the first and second 
figures be associated together as a number, even though 
the last figure be a cipher. Sometimes there may be 
an equal interval between the figures, all being odd, 
as 159, 357, 975 — or even, as 246, 864 — or mixed, as 



FIGURES. 193 

147, 258, 963 — or all may be either even or odd, the 
interval being unequal — as 218, 379, 862, 953, etc. — 
or the first and last figures may be identical, as 181, 
373, 717, 949, etc. — or a number may be the cube of 
some one of the numerals, as 125, 216, 343, 512, and 
729 — which are the cubes of 5, 6, 7, 8, and 9. Ad- 
vantage should be taken of any accidental relation- 
ship, such as above illustrated, which may exist among 
the various figures forming a number, because such 
features are easily impressed on the memory. 

Numbers composed of four figures come next in 
order of consideration, and while they are more diffi- 
cult to memorize than lesser numbers, yet a large pro- 
portion of the difficulty becomes dissipated when the 
memorizing is done in a systematic manner. Num- 
bers consisting of four figures should be separated 
into pairs, each pair being memorized independently 
of the other, in accordance with the suggestions al- 
ready given concerning numbers containing two fig- 
ures, and then an association between each pair of 
figures should be sought, advantage being taken of any 
points of similarity or contrariety — such as either pair 
being divisible by the other pair, as 1442, or 4515; by 
there being a common factor of each pair, as 2156, or 
8154 (the factors being 7 and 9 respectively); by all 
the figures being either odd or even, as 1397, or 5971; 
by the two exterior figures being odd and the interior 
ones even, or vice versa, as 7461, or 4918; or the first 
and third ones odd, or even, and the others the op- 
posite, as 3476, or 7652; or bv the first pair being 

13 ' 



194 THE ART OF MEMORY. 

either odd, or even, and the others vice versa, as 7342, 
or 2659. If it ever becomes necessary to memorize a 
number consisting of more than four figures, the num- 
ber should be separated into "threes," beginning at 
the right, the memorizing to commence at the left. 
The first portion of any number should always be 
memorized first. 

For the attainment of a high degree of develop- 
ment in "figure-memory" it is essential that the mem- 
ory be not only mathematical, but visual; in other 
w^ords, a number which has been memorized should 
be clearly defined in the mental vision; it should seem 
as if the eye were gazing on the very characters them- 
selves, in all their original distinctness, written, per- 
chance, on some imaginary blackboard, or imprinted 
in the pages of some imaginary book, or displayed on 
some sign or poster of the fancy. The power to do this, 
to one who is deficient in "figure-memory," may seem 
extremely difficult of attainment, but it can be ac- 
complished by properly directed practice. One of 
the most effective means of fixing a number in the 
visual memory is to associate it with some number to 
which the attention has been frequently directed, and 
which is thus comparatively easy of recollection. For 
instance, figures used to represent divisions of time, 
measures of extension, capacity, weight, money, etc., 
are more or less familiar; and important historical 
dates, as well as anniversaries which law or custom 
has decreed to be worthy of observance, are more 
than likely to be well impressed on the memory. All 



FIGURES. 195 

these the novitiate can make use of to excellent ad- 
vantage until he shall have attained such proficiency 
in the memory of figures that the employment of these 
devices is no longer necessary; but until such time 
numbers which are to be memorized should be asso- 
ciated, whenever possible, with identical numbers; 
which are familiar, for the purpose of strengthening 
the impression. 

The following illustrations, as suggestive of this 
idea, may be of interest, the significant figures being in 
italics: 

2 may be memorized by reflecting that we have two 
hands, two feet, two eyes, two ears : that there are two 
pints in a quart: that two cents represents U. S. letter- 
postage. 

To memorize 3, it is only necessary to associate it 
with either of the following facts : there are 3 feet in a 
yard, 3 scruples in a drachm, 3 sides to a triangle, 3 col- 
ors in the national flag; there were 3 Graces in Grecian 
Mythology. 

As to -i; There are 4 quarts in a gallon, 4 pecks in 
a bushel, 4 weeks in a month, 4 farthings in a penny, 

4 sides to a building, 4 suits in a pack of playing- 
cards; July 4 is Independence Day, and March 4 Presi- 
dential-inauguration day. 

There are 5 fingers on each hand, 5 points to a star; 

5 represents a coin in general circulation. 

A cube has 6 sides. There are 6 feet in a fathom. 
There are 7 days in a week ; there were 7 wonders of 
the ancient world. 



196 THE ART OF MEMORY. 

8 quarts make a peck, 8 drachms an ounce, 8 fur- 
longs a mile. There are 8 planets. 

9 square feet make a square yard; there are 9 
numerals; in Grecian Mythology there were 9 Muses. 
Lincoln and Gladstone were born in 1809. 9 is the 
square of 3. 

There are 10 fingers on both hands; 10 represents 
a coin in common circulation. There are 10 Command- 
ments. 

In 1811 Thackeray was born. In the same year 
occurred the Massacre of the Mamelukes. 11 is the 
first prime number of two figures. 

There are 12 inches in a foot; 12 ounces in a pound 
(TrojO? 12 pence in a shilling, 12 things in a dozen, 12 
signs of the zodiac', 12 semi-tones in an octave. Feb- 
ruary 12 is Lincoln's birthday. In 1812 Dickens and 
Browning were born, Moscow was burned, the second 
war with England commenced. 

There are 13 weeks in a ^^quarter,'' or season; the 
national fiag has 13 stripes. There are 13 cards in 
each suit, in a pack of playing cards. 13 is a "baker's" 
dozen. 13 at table is unlucky, according to an old 
superstition. Wagner was born in 1813. 

There are i// pounds in a stone. February 14 is St. 
Valentine's day. Bismarck was born in 18i.). 

15 may be associated with the battles of Waterloo 
and New Orleans, which occurred in 18i5. A quarter 
of an hour is 15 minutes. 

There are 16 drachms in an ounce, and 16 ounces in 
a pound. 16 is the square of 4. 

March 17 is St. Patrick's day. 



FIGURES. 197 

18 constitutes the first two figures of the nineteenth 
century. In 16i8 the Thirty years' war began. In 
18iS Gounod was born. 

19 forms the first two figures of the twentieth 
century. In 1S19 Kuskin and Lowell were born. 

There are 20 shillings in a pound sterling; 20 things 
make a score. 20 represents the largest U. S. gold coin. 
In 1^20 the Mayflower landed. 

There are 21 shillings in a guinea. A youth attains 
his majority at 21. In 182i Napoleon died at St. Hel- 
ena. In 1^21 Cortez conquered Mexico. 

Feb. 22 is Washington's birthday. Gen. Grant was 
born in 1822. 

Pliny the Elder was born in the year 23; Pascal in 
1625; Max Mtiller in 1825. 

There are 24 hours in a day. Palestrina was born 
in 152^. 

25 represents a silver coin in common circulation. 
Dec. 25 is Christmas. The circumference of the earth 
is 25,000 miles. 25 is the square of its last figure. 

26 is the number of weeks in a half 3^ear. 

There are 27 cubic feet in a cubic yard. A lunar 
month is 27 days. 

The shortest month in the year (February) consists 
of 28 days. Bun^^an was born in 1628. 

In February of leap-year there are 29 days. The 
highest mountain in the word (Mt. Ei^erest) is 2^,000 
feet high. 

A commercial month is 30 days. A half -hour is 30 
minutes. May 30 is Decoration Day. 



198 THE ART OF MEMORY. 

The longest mouth has SI days. Drydeu was born 
in IGJi and Oowper in ITJ/. 

Water freezes at J2° Fahrenheit. AYashington was 
born in 1732. Pizarro conquered Peru in 15J2. 

SS years is termed a '^generation.'' In loSS Queen 
Elizabeth was born. 

In ISSJf Spurgeon was born. 

In 10 JJ the French Academy was founded. In ISSo 
Samuel L. Clemens (Mark Twain) was born. 

In 1(>J6' Haryard College was founded. 36 is the 
square of its last figure. 

In S7 Josephus was born. In 1737 Gibbon was 
born. In 1S37 Phonography was inyented. In the 
same year Victoria ascended the throne of England. 

In 1738 Herschel was born. 

In 39 Lucan was born; in l(j3i) Racine; in 1S39 Bret 
Harte. 

In JfO Titus was boru. In 13 }(^ Chaucer was born. 

In 17/// Layater was born. In 18 Ji the Prince of 
Wales was born. 

In l(\'i2 Newton was born. In 17.}i Blucher was 
born. 

In !()//,? the barometer was invented. 

In 15//// Tasso was born. In IS//// Sir Arthur Sulli- 
van was born. 

In 18-}.) occurred the Avar with Mexico. Three-quar- 
ters of an hour is 45 minutes. 

In 17//^ occurred the battle of Culloden. Kosciusco 
was born the same year. 

In '/7 Juvenal was born; in 15//7 Cervantes; in 18//7 
Edison. In 18//7 the sewing machine was invented. 



<n 



FUU'KKS. 



199 



Iiil8)N the Ooriuaii Enipin^ was ostnblisIuMl, 

In 17//^ Oootlio was born. 19 is {\w si^uaiv of 7. 

M) is a half (*(Mi(iirv: it also r(^i)rost4its a. coin iu ooin- 
moiioiiviilation. In 12-")() ounpowdtM' was invonlod. 

In 15e>/ Canulon was born (i( n^uls backwards and 
forwards tbo same). In 18J/ (ho first Worbl's l^^iir was 
held, at London. 

There are »>.? win^ks in a yi^ar; 52 cards in a pack of 
playing" cards. 

In .")») Trajan was born. In 17k) ilic Ibilish Mu- 
senni was fonnded. 

In ISiiJf occnrred (lu^ Crimean war. 

In 5J Tacitns was born; in 17")") IlalnuMnann was 
born. In lb").") (lu* \\ ar of tlu^ '*Kos(^s" b(\uan. 

In MM) Mozart was born. Tlie Sc^cmi ^' cars' War 
bejian in thai year. 

In t 1 "JT (lu^ lirsi ncwspai)(M* was i>rin((Ml. In 17">7 
Lafayctti^ and Hamilton wimv born. In 1S>7 occnrred 
«i i>reat financial panic [V . S.). 

In 17r)S Lord Nelson was born, in i8J8 was laid 
the first Atlantic cable. 

In 17"")/) Lit I, I»nrns and Schiller w(M'(» born. Ini8>^i 
occnrnnl tlu* llarp(n*'s b\^rry insnritnt ion. 

There are ()7^ sinonds in a nunnt(\ (>() niinnlcs in an 
honr, and (U) minntt^s in a d(\ur(H^ o\' latitndt^ or lonui 
tnde. 

In addition t(^ the foregoinj;* 'Mn(Mnory-iH\us," there 
IS tlu^ nnmlxM- formed by tlu^ last two liuiires of tlu\year 
of a person's birth, and the day of tluMncmth; tluMvhoh^ 
or a portion of his honsi\ olVice and t(4e[>hone nnmber, 



200 THE ART OF MEMORY. 

and the number of his postoffice box; also the numbers 
in a safe-lock combination. 

The foregoing illustrations of ways in which figures 
may be associated with each other do not include all 
that may or will be mentioned, as additional illustra- 
tions will be given in the next chapter; but enough 
have been given so that any person of ordinary intelli- 
gence can, by proper application, attain a degree of 
proficiency in the art of memorizing figures far beyond 
what he could ever have hoped for through the usual 
methods — or rather lack of method. As his practice 
continues, additional ways of associating figures with 
each other will suggest themselves to his mind, until 
he will soon be able to memorize anv number consistino- 
of four figures with ease^ — and even greater tasks may 
be undertaken without hesitation. It will become evi- 
dent to the student, after sufficient trial, that this 
method of memorizing numbers by noticing the rela- 
tion which the figures composing a number bear to each 
other, is vastly superior to the cumbersome and imprac- 
ticable method of "translating'' figures into words — 
and that the natural and logical way of memorizing fig- 
ures is to associate them with each other and not with 
words. As practice by this method continues, the dif- 
ficulty of memorizing figures will be greatly lessened; 
tasks which at first may seem impossible to accomplish 
will be conquered with ease, and any number or date, 
with the fact or event which it represents, will become 
impressed on the memory in vivid and enduring chxirac- 
ters. 



CHAPTER XL 



HISTORICAL DATES. 



Assuming that the student has put to practical use 
the methods advised in the preceding chapter, and has 
thereby attained at least moderate proficiency in the 
memory of figures, the subject of historical dates will 
now be introduced, the main purpose being to indicate 
how the significant dates in history may be memorized 
w^ith an expenditure of time and mental energy but 
slight compared w^th that required by the ways ordi- 
narily employed; the secondary purpose being to sug- 
gest how^ may best be retained in the memory the 
dates of occurrences in a person's own experience which 
are of more than passing moment. In both cases the 
result is accomplished chiefly through the medium of 
Association, for whose intelligent employment His- 
torical Dates furnishes an ample field; and to the sys- 
tematic arrangement of those dates so that any of them 
may be easily and effectually preserved in the memory, 
will this chapter be mainly devoted. 

The exceeding readiness with which an historical 
date commonly deserts the memory is only too fully 

(201) 



202 THE ART OF MEMORY. 

realized by every reader of history who is not especially 
gifted in ^^figure-memory.'' The event to which the date 
is related may long cling to the recollection — perhaps 
may never leave it — but the date is likely to soon fade 
away, and the more remote the event the more doubt- 
ful that its date will be retained in the memory — even 
the century itself may be forgotten if long prior to our 
own age. And yet, however faithfully the details of 
historical events may be imprinted on the memory, it 
is scarcely less important that their dates be preserved 
also — for thus is better assured the retention of the 
sequence of events, whose recollection is indispensable 
to the accurate knowledge of history. 

The ability to recall at will events of past ages which 
historians have deemed worthy of record cannot but 
be a source of untold gratification in. after years — and 
yet how few there are who, unless fresh from the col- 
lege or university, or who have taken the time to oc- 
casionally review their historical knowledge, retain 
with fidelity more than a fragment of the details of 
history with which they were once familiar — and es- 
pecially the dates. It seems to be the common experi- 
ence that, as time passes on and the mind becomes 
more and more engrossed with worldly matters, only 
the nucleii of history remain intact in the memory, the 
dates leaving the least permanent impressions of all. 
There are events, it is true, whose dates the memory 
retains because of the oft-repeated allusions in litera- 
ture to those events, through the very frequency of 
which reference the events and their dates become so 



HISTORICAL DATES. 203 

thoroughly imprinted upon the memory that they serve 
as landmarks, with which may be associated scenes and 
incidents of the past that would otherwise soon fade 
away. No student of ancient history forgets the date 
of Marathon (B. C. 490), nor that a decade later Le- 
onidas and his brave Spartans sacrificed their lives at 
the pass of Thermopylae; that Themistocles gained the 
great battle of Salamis in the same year; and that Ge- 
lon of Syracuse defeated the Carthaginians on the same 
day that the battle of Salamis was fought. Other dates 
generally remembered are: B. C. 413 — the date of the 
battle of Syracuse, when began the decline of Athens; 
B. C. 331, when Alexander the Great gained the great 
battle of Arbela, which decided the fate of the Eastern 
world for a long period; B. C. 216, the date of the battle 
of Cannae, won by Hannibal over the Komans; B. C. 
146, when Carthage was taken and destroyed by Scipio; 
B. C. 44 and the assassination of Csesar; B. C. 31 and 
the battle of Actium and deaths of Antony and Cleo- 
patra; A. D. 79 and the destruction of Pompeii and 
Herculaneum by the relentless fires of Vesuvius; 410 
and the sack of Eome by Alaric; 451 and the defeat of 
Attila and the Huns at Chalons. 

The student of religious history will always remem- 
ber 325 as the date of the first Ecumenical Council at 
Nice, 1095 as that of the first Crusade, 1517 as the date 
of the Keformation, 1598 as that of the Edict of Nantes, 
and 1685 as the date of its revocation. 

The student of musical history thinks of 750 as the 
date when the or2;an was invented, 1025 as that when 



204 THE ART OF MEMORY. 

modern musical notation was devised, and tliat five hun- 
dred years later Palestrina,the Father of modern music, 
was born. He remembers 1685 as the year when Bach 
and Handel were born, 1732 as the year of Haydn's 
birth, 1756 of Mozart's, 1770 as that of Beethoven's, 
1809 of Mendelssohn's, and 1813 as that of Wagner's. 

What Frenchman does not remember 742 as the year 
of Charlemagne's birth, and 1431 as the year when 
Joan of Arc suffered martyrdom, and when Eichelieu 
was born? — And 1789 — what a world of suggestiveness 
in that date! — the horrors of the French Kevolution! — 
the "Reign of Terror!" — Robespierre — Marat — Char- 
lotte Cor day ! — Then Napoleon — Marengo in 1800 ; Aus- 
teriitz in 1805 ; Friedland in 1807. Then his downfall, 
• — Moscow in 1812; Waterloo in 1815! 

To the Briton how significant are 1066 and William 
the Conqueror — 1215 and Magna Charta — 1588 and the 
"Armada?" 1666 he thinks of as the year of the Great 
Fire in London, and the year before as that of the 
Plague; 1759 suggests Quebec, and Wolfe; 1805 Tra- 
falgar, and Nelson; 1815 Waterloo, and Wellington; and 
1854 the Crimean War. And what American ever for- 
gets the significance of 1492, 1620, 1776, 1812 and 1861? 
— and that 1732 ushered into life the immortal Wash- 
ington? 

But the foregoing dates represent only the merest 
fraction of the world's events which are accorded his- 
torical mention; and if those dates are so replete with 
meaning, what of the chief actors in the events to which 
the dates of history relate? The date of a great battle 



HISTORICAL DATES. ' 205 

may suggest only that one event; the date of a great 
man's birth is likely to recall to mind the chief acts of 
his life. If B. C. 331 suggestsi Arbela, one of the decisive 
battles of the world, should not the year in which Alex- 
der was born be still more significant? The battle of 
Cannae was fought in 216 B. C; should that date be 
as impressive as 247 B. C, the year in which Hannibal 
was born? Surely 100 B. C, the year of Caesar- s birth, 
is of far greater significance to the mind than the date 
of any particular battle which he won; and 742 may 
well commemorate many a triumph of Charlemagne. 
Do not 1496 and 1594, respectively, suggest Gustavus 
Vasa and Gustavus Adolphus, and their achievements? 
and what does 1599 mean but Cromwell and his notable 
career? What date should remind us more forcibly of 
the Crusades than 1137, the year of Saladin's birth? 
What does 1336 mean but Tamerlane, the great Tartar 
chieftain, and his wonderful conquests? 

In the early part of the eighteenth century we have 
1712 to remind us of Frederick the Great. And a score 
of years later — what a world of significance in that 
date! It means Lexington, and Yorktown, and all the 
intervening years of hopes and fears, of privation, of 
bloodshed — culminating in American Independence. 

What date can better revive the memory of Na- 
poleon than the year of his birth, 1769? Does it not 
suggest Valmy, and Marengo, and Jena, and Wagram, 
and Friedland, and Austerlitz? 

The closing year of the eighteenth century means 
Yon Moltke, the peerless strategist — "silent in seven 



/.., 



206 THE ART OP MEMORY. 

languages." It means Sadowa, and Metz, and Mars- 
la-tour, and Gravel otte, and Sedan! And 1822 — what 
does that mean but Grant, the "silent/' the never-de- 
feated! It signifies, indeed, the whole history of a war! 

And the triumphs of the pen. Of what special sig- 
nificance is the exact year in which a great work is pro- 
duced? The same person may write many books, and 
what is there in the date of any one of them which is 
likely to recall that of another? and what matters it 
that one work was produced before or after another? 
Is it essential to know whether Romeo and Juliet was 
written before Hamlet, or Richard III. before Machetk? 
What matters it whether Kenilwortli or Ivanhoe was 
written first? David Copperfield, or Pickwick f Childc 
Harold, or the Corsair f In memorizing a date associ- 
ated with the name of a great writer, of how much 
lesser importance is the date representing a single 
product of the pen than the year in which he was born 
who wielded the pen ! 

The fact is that to the student of history it is of 
more importance to know the date on which a great 
man was born than the date of any particular action 
which he performed or in which he was prominent, for 
thus will be best retained in memory the leading acts 
of his life in their order of occurrence. 

It may be contended that the date by which a great 
man should be best remembered is that representing 
the zenith of his activity; but it is seldom possible to 
establish such a date that will be commonly accepted, 
especially if his career has extended over a long time. 



HISTORICAL DATES. 207 

Neither should the date of a person's death be used as 
a basis of recollection; we do not commemorate a man's 
death, but his birth; we celebrate the daivu of an illus- 
trious life — not its fading away. 

It is true that the memory, in addition to whatever 
dates of the births of great men it may store away, 
should not neglect to preserve the dates of the great 
events of history — but those events are few compared 
with the aggregate of events worthy to be recorded in 
the memory; yet of historical dates the most impor- 
tant ones are virtually all which are ordinarily re- 
tained in the memory with any degree of permanence 
— and that because they have been impressed upon it 
by sheer repetition — nothing else; had there been used 
to the best advantage an amount of time and mental 
energy equal to that employed in the memorizing of 
those dates, a vastly greater number would have been 
stored away, and their retention in the memory ren- 
dered far more certain. 

The following examples will illustrate the great 
advantage of system in memorizing historical dates. 
Suppose we want to recollect the year of Herodotus' 
birth — 484 B. C. The date reads forward and back- 
ward the same, the middle figure being equal to the 
sum of the end figures. One thousand years later (516 
A. D.) the Knights of the Round Table were organized. 
Aristotle, the greatest of philosophers, and Demos- 
thenes, the most celebrated of orators, were both born 
in the year 384 B. C, 100 years after the birth of Herod- 
otus. 



208 THE ART OF MEMORY. 

The year of birth of ^schylus, the founder of the 
drama, is 525 B. C. That date may be recalled by 
knowing that ^schylus was born 2,000 years before 
Michael Angelo, and that the latter's birth occurred in 
1475 — 300 years before the American Eevolution. The 
date 525 reads forward and backward the same, the 
number formed by the two last figures being the square 
of the first figure. Besides, the number formed by the 
two first figures corresponds with the number of weeks 
in a year. Antisthenes, a famous Greek philosopher, 
was born a century later than .Eschylus (in 425 B. 0.), 
which was 1,000 years before the birth of Heraclius, 
Emperor of the East (575 A. D.), which last date reads 
forward and backw^ard the same. 

If we wish to recollect when Canute was born, let 
us bear in mind that it was 100 years before the first 
Crusade (1095), and the same period after the birth of 
Athelstane (895), one of the great Old-English Kings. 

The date when Egbert, the first King of England, 
w^as born, can be easily associated with the American 
Eevolution, as it occurred just 1000 years before (775). 
So may the date of Kepler's birth be linked to that 
of Mohammed's, as it was 1000 years afterward (1571). 

We will next try to memorize the dates w^hen Sala- 
din, the great Moslem commander, and Tamerlane, the 
renowned Tartar conqueror, were born. The year of 
Saladin's birth is 1137. Let it be noticed that each 
single figure is a prime number, and that every two 
of those figures make prime numbers — 11, 13, 37, 17, 31, 
73, 71. The square of the first half of the date (11) is 



I 



HISTORICAL DATES. 209 

121, the year of the Eqman emperor Marcus Antoninus^ 
birth, and it reads forward and backward the same. 
The square of the last half of the date (37) is 1369, the 
year when John Huss was born, and also when the 
Bastile was founded. The last three figures are regu- 
lar intervals apart, each of the two last figures being 
divisible by the first one. Had Saladin's birth oc- 
curred a year earlier it would have been just two 
hundred years before that of Tamerlane (1336), who 
was born 300 years before Harvard University was 
founded (1636). The French Academy w^as founded 
in the previous year, and Cambridge University 1000 
years earlier (635). 

Let us suppose that it is desired to recall the year 
in which occurred the birth of Hardicanute, the Danish 
King of England (1018). The last two figures are the 
same as the first two figures of any year in the nine- 
teenth century; we also find that a century later (1118) 
Thomas a Becket was born, and that the Order of 
Knights Templars was also founded in that year. 1118 
is a date easily retained in the memory, as it is an 
^'eighf preceded b^^ three ''ones.'- If Ave add to this 
date a number equal to the number of days in a year, 
we will have the date when Luther, Raphael and Baber 
were born (1183). 

If we wish to recollect the date of Euben's birth 
(1577), we may associate it with that of Titian's, which 
was a century earlier, in the same year that watches 
and violins were invented (1177). It may also be noted 
that Titian died in the year before that of Ruben's 
birth, having lived to the age of 99. 

14 



210 THE ART OF MEMORY. 

The Eussian serfs were emancipated in the same 
year that the U. S. Civil War began (1861). The date 
when the Russian Empire was founded (862) may be 
recalled by the fact that had the first named event oc- 
curred a year later, the interval between the two events 
would have been just 1000 years. 

We may be reminded of when the battle of Trafal- 
gar was fought by knowing that it happened 200 years 
after the "Gunpowder Plot'' (1605); and when Carth- 
age was destroyed by recalling to mind that it was 
2000 years prior to the Crimean war, it being in 146 
B. C. 

It is an easy matter to recollect the dates when 
were born the distinguished naturalists, Linnaeus, Buf- 
fon, and Agassiz, when we reflect that the two former 
persons were born in the same year (1707), and the lat- 
ter a century later, in the year in which Fulton took 
his first steamboat trip on the Hudson, and when slav- 
ery was abolished in Great Britain (1807). 

How can we better recall the date of Shelley's 
birth than by associating it with the discovery of 
America, which was 300 years before? — the date of 
Jenny Lind's birth than by recollecting that it hap- 
pened 200 years after the landing of the Mayflower? — 
or that Dickens was born in the same year that our 
second war with England began (1812)? 

Many other illustrations of a character similar to 
the above might be given, but these are enough to 
show the great value of Association as an aid in mem- 
orizing historical dates. It has a value which cannot 



HISTORICAL DATES. 211 

be properly appreciated if viewed from the ordinary 
standpoint as applied to Association, for the connection 
of dates with each other is by a process different from 
any other form of association — and yet it is no less 
effective if notice be taken of the features peculiar to 
any date, so as to form for the date a proper asso- 
ciation. 

As was said in the beginning of this chapter, it 
will be assumed that the student has attained at least 
moderate proficiency in associating figures with each 
other. That alone might be sufficient for memorizing 
historical dates; but as an additional means of im- 
pressing them on the memory it is proposed in the 
pages that are to follow to link together the leading 
events of history in a systematic manner. In the ar- 
rangement of those dates (where the association is 
based on the comparison of one date with another, 
rather than on any features peculiar to the figures 
forming a single date taken by itself), care has been 
taken to connect with each other, as far as possible, 
events of a like nature; thus dates representing births 
of noted men are generally associated with each other, 
and a like plan pursued regarding events affecting the 
welfare of nations, so as to avoid the confusion which 
might sometimes result from linking active with pas- 
sive events. It is by no means claimed that all the 
important events of history are comprised in these 
lists; it is believed, however, that the greater part of 
them are so embraced, and that there is included the 
name of nearly every distinguished person that ever 



212 THE ART OF MEMORY. 

lived (except Biblical characters), from the dawn of 
history down to the present age — being nearly 1700 
names. 

It is not to be assumed that the intelligent study of 
history can be accomplished by arbitrarily commit- 
ting these lists to memory; they are not inserted with 
that purpose in view, but to provide ''memory-pegs" 
on which may be hung such historical memorandums 
as are desired, from time to time, and arranged so that 
they may be referred to by the memory at will; a 
single reference may recall a whole chain of events 
which otherwise might never have reappeared in the 
recollection. By this method the capacity of the mem- 
ory for preserving dates can be immeasurably aug- 
mented, and the secret of it all is — the association 
of figures with each other. 

For the convenience of the student, an index of 
the events associated is furnished at the end of this 
chapter, the list being divided into two classes: One 
class being the noted characters of history, and the 
other, important historical events. A list of the dif- 
ferent dates used, in their chronological order, is also 
given. 

A few dates — notably the more remote ones — are 
involved in doubt, as authorities do not agree; but the 
dates given in those cases are believed to be within 
a very few years. If all but absolutely authentic dates 
were rejected, it would be necessary to omit from the 
list many of the most distinguished characters of 
ancient history — such as Homer, Hesiod, Lycurgus, 



HISTORICAL DATES. 213 

Solon, Draco, Pythagoras, Berosus, Sappho, Thales, 

Mencius and many others — and some moderns also. 

In arranging these lists the plan has been adopted 

of beginning with the dates which are believed to be 

the most easy to memorize, and advancing gradually 

to those which are the least so. The first list consists 

of dates which terminate the centuries, from remote 

ages down to the close of the eighteenth century. 

There are only two figures to memorize, at the most, 

and in about half the cases only one. 

The list is as follows: 

» 

B. C. 700 : Terpander born. 

B.C. 600: Pherecydes born. 

B. C 500 : Anaxagoras . . . « born. 

B. C 300: Cleanthes, Lycon born. 

B. C. 100 : Csesar born. 

A. D. 200 : Cyprian born. 

600 : Dagobert I born. 

1000 : Ferdinand the Great born. 

1100 : Geoffrey of Monmouth born. 

1800: Hafiz born. 

1400: Gutenberg, Diamante born. 

1500: Cellini, Martyr, Camerarius, Charles 

V born. 

1600: Calderon, Lorraine, Prynne born. 

. 1700 : Zinzendorf , Stradivarius, C r u d e n, 

James Thomson .born. 

1800: Macaulay, Bancroft, Heine, Fliedner, 

Lassen, Lieber, Plattner, Von 

Moltke, John Brown born. 



214 THE ART OF MEMORY. 

The next dates selected are those which read back- 
ward and forward the same, either the two first or 
two last figures being the only ones necessary t-o mem- 
orize. 

The list is as follows: 

B.C. 878: Carthage founded. 

B. C. 606 : Anaximenes born. 

B. C. 535: Heraciitus born. 

B. C. 535 : Thespis first exhibited Tragedy. 

B. C. 525 : Cambyses conquered Egypt. 

B. C. 525 : iEschylus born. 

B. C. 484: Herodotus ,.. born. 

B. C. 454 : Timotheus born. 

B. C. 454 : Athens subdued ^gina. 

B.C. 404: Fall of Athens. 

B.C. 383: Battle of Mantineia. 

B. C. 343 : First Samnite war began. 

B.C. 323: Euclid born. 

B. C. 252 : Philopoemen born. 

B.C. 212: Komans captured Syracuse. 

B.C. 202: Battle of Zama. 

B. C. 151 : Agatharcides born. 

B. C. 131 : Sisenna born. 

B. C. 121: Mithridates born. 

A. D. 55 : Tacitus born. 

121 : Marcus Antoninus born. 

121: Hadrian's Wall built. 

393: Olympian games abolished. 

434: Odoacer born. 



HISTORICAL DATES. 215 

A. D. 454 : Theodoric born. 

505 : Belisarius born. 

575 : Heraclius born. 

636 : Mosque of Omar founded. 

656 : Aldhelm born. 

878: Battle of Ethandune. 

939 : Hugh Capet born. 

1111: Andronicus born. 

1221: Bonaventura born. 

1331 : Cannon first used. 

1441: Printing invented. 

1551 : Camden • • born. 

1661: Eollin, De Foe born. 

1771: Scott, Sydney Smith born. 

1881: Yolaptik introduced. 

In the following list of dates the three right-hand 
figures consist of one numeral repeated twice, which is 
prefixed by the lowest numeral. 

A. D. 1222: Padua University founded. 

1333: Battle of Halidon Hill. 

1444: African slave trade began. 

1555 : Carracci .born. 

1666: Geminiani, Yanbrugh, Wotton born. 

1777: Campbell, Clay, Gauss, La Motte, 

Oersted, Fouque c born. 

1888: William II. ascended German throne. 



216 THE ART OF MEMORY. 

The next list consists of dates above 1000 in which 
both pairs of figures in a date are identical. 

A. D. 1212: Children's Crusade. 

1313 : Boccaccio, Kienzi ... born. 

1414 : Treaty of Arras. 

1515: Ascham, Tallis, Neri, St. Theresa. . . .born. 
1616: John Owen, Antoinette, Bourignon. .born. 
1717: D'Alembert, Winckelmann, Mich- 

aelis, Maria Theresa. born. 

1818: Gounod, Froude, Northcote, Tour- 

guenieff .• born. 

In the following list each pair of figures advances 
in order. 

A. D. 1011: Danes invaded England. 

1112: War, Henry I. and Earl of Anjou. 

1213: Battle of Muret. 

1314: Battle of Bannockburn. 

1415: Battle of Agincourt. 

1516: First Postoffice. 

1617: Cudworth born. 

1718: Brainerd, Horace Walpole born, 

1819: Kuskin, Lowell, Kingsley, Abt, Off- 
enbach, George Eliot, Elias Howe, 
Queen Victoria born. 

The following list consists of dates in which the 
two pairs of figures in each of the dates, except the 
last, in the preceding list, are interchanged. 

A. D. 1110 : Henry V. invaded Italy. 

1211 : Ibn Khallikan born. 



HISTORICAL DATES. 



217 



A. D. 1312: University of Orleans founded. 

1413: Stenography invented. 

1514: Battle of Kalderoon. 

1615: Baxter, Denham, Salvator Rosa born. 

1716 : Garrick, Gray, Barthelemy born. 

1817: Armitage, Thoreau, Lotze born. 

Let us now take as a starting point the date of the 
Great London Fire (which can be easily retained in the 
memory, as one figure occurs three times — 1666), and 
note some of the most important events which hap- 
pened each 100 years prior to that date, back to the 
time of the Norman conquest, and also the most nota- 
ble events that occurred each 100 years since 1666. 

A. D. 1066 : Battle of Hastings. 

1166: Alfonso of Portugal captured Evora. 

1266: Charles of Anjou conquered Sicily. 

1366: Battle of Najara. 

1466: Colet, Matsys, Aquila, Aventinus, 

Doria, Lilye born, 

1566 : Alleyn, Richard Boyle born. 

1666: Great Fire of London. 

1766: Malthus, Wollaston, Madame de 
Stael, Ersch, Dalton, Alex. Wil- 
son, Lady Nairne born. 

1866: Battle of Sadowa. 



218 THE ART OF MEMORY. 

Tli(^ Great Plagium in London occurred in the year 
previous to the Great Fire. Let us note the important 
events, by centuries, in the same manner as before. 

A. D. lOOr): Westminster Abbey consecrated. 

1165: William the Lion born. 

1265: House of Commons founded. 

1365: Vienna University founded. 

1465: Budapest University founded. 

1505: Tassoni, Argensola born. 

1665: Great Plague of London. 

1765: Mackintosh, Karamzin, Baggasen, 
Bagration, BaadcT, Robert Ful- 
ton born. 

1865: Slavery abolislunl in the United States. 

The next list will represent events which occurred 
at identical dates before and after the beginning of the 
Christian era. 

B. C. 15 : Germanicus born. 

A. D. 15: Vitellius • born. 

B. C. 42: Tib(»rius born. 

A. D. 42: Britannicus born. 

B. C. 43: Ovid born. 

A. D. 43: Martialis born. 

B. C. 50 : l^ropia'tius born. 

A. D. 50: Plutarch born. 

B. C. 69: (J alius, Cleopatra born. 

A. D. 69: Polycarp born. 

B. C. 7(): Asinius Pollio born. 

A. D. 76 : Hadrian born. 



B. 


C. 


80 


A. 


D. 


8G 


B. 


0. 


81) 


A. 


D. 


8(5 


B. 


C. 


10(> 


A. 


D. 


106 


B. 


C. 


121 


A. 


D. 


121 


B. 


C. 


131 


A. 


D. 


131 


B. 


C. 


140 


A. 


1>. 


140 


B. 


0. 


185 


A. 


1). 


185 


B. 


r. 


188 


A. 


D. 


188 


B. 


0. 


205 


A. 


D. 


205 


B. 


C. 


210 


A. 


D. 


210 


B. 


C. 


213 


A. 


D. 


213 


B. 


C. 


214 


A. 


D. 


214 


B. 


C. 


216 


A. 


D. 


216 


B. 


C. 


219 


A. 


D. 


210 


B. 


0. 


234 


A. 


D. 


234 



HISTORICAL DATES. 219 

Salliist born. 

Antoninus Pins born. 

Snlla captures Athens. 
Daoian war begins. 

Pomi>ey, Cic ero born. 

Justin born. 

Mithridates born. 

Marcus Antoninus born. 

Sisenna ... born. 

Irenteus born. 

Oiassus born. 

AtLenagoras born. 

Terence, Scipio Afrieanus born. 

Origen born. 

Gracchus born. 

Caracalla born. 

.T]inilius born. 

Plotinus born. 

Polvbius born. 

Longinus born. 

Carneades born. 

Valerian born. 

Great Wall of China begun. 
Grist mills invented. 

Battle of Canna^. 
Artabanus invaded Syria. 

Pacuvius born. 

Philiscus born. 

Oato Major born. 

Porphyrins born. 



220 THE ART OF MEMORY. 

B. C. 245 : Hermippiis born. 

A. D. 245: Diocletian born. 

B. C. 252: Philopoemen born. 

A. D. 252: Antony the Monk born. 

B. C. 265 : Nsevius born. 

A. D. 265 : Eusebius born. 

B. C. 287: Archimedes born. 

A. D. 287: Hilary of Poitiers -born. 

B. C. 304 : Berosus born. 

A. D. 304 : St. Epiphanius born. 

B. C 310: Theocritus .born. 

A. D. 310 : Ausonius born. 

B. C. 316: Arcesilaus born. 

A. D. 316: Libanius, St. Martin born. 

B. C. 341 : Epicurus born. 

A. D. 341: St. Jerome born. 

B. 0. 350: Zeno born. 

A. D. 350 : Hypatia born. 

B. C. 354 : Cassander born. 

A. D. 354 : St. Augustine born. 

B. 0. 359: Philemon born. 

A.D. 359: Stilicho .born. 

B. C. 360 : Protogenes born. 

A. D. 360 : Cassianus born. 

B. C 384: Aristotle, Demosthenes born. 

A. D. 384 : Honorius born. 

B. C. 389: ^schines , born. 

A. D. 389: Theodoret born. 

B. C 396: Xenoc'rates, Hyperides born. 

A. D. 396: St. Patrick born. 



HISTORICAL DATES. 221 

B. C. 399 : Eudoxus born. 

A. D. 399 : Aetius born. 

B. C. 406 : Speusippus born. 

A. D. 406 : Attila, Genseric born. 

B. C. 410: Alcibiades defeated Koman fleet. 

A. D. 410 : Eomans evacuated Britain. 

B. C. 412: Diogenes born. 

A. D. 412: Proelus born. 

B. C. 422 : Epaminondas born. 

A. D. 422 : St. Genevieve born. 

B. C. 430: Dionysius, Xenophon born. 

A. D. 430 : Apollinaris Sidonius born. 

B. C. 438: Lysias born. 

A. D. 438: Eemigius born. 

B. C. 451: First Koman Decern virate. 
A.D. 451: Battle of Chalons. 

B. C. 454: Timotheus born. 

A. D. 454 : Tbeodoric born. 

B. C. 466: Andocides born. 

A. D. 466 : Clovis born. 

B. C. 468 : Socrates born. 

A. D. 468: Cassiodorus born. 

B. C. 480: Euripides, Antiphon, Pliilolaus .born. 

A. D. 480 : Narses born. 

B. C 481: Agesilaus .born. 

A. D. 481: St. Benedict born. 

B. C. 483: Ion born. 

A. D. 483: Justinian tlie Great born. 

B. C. 490 : Empedocles born. 

A. D. 490: St. David .born. 



222 THE ART OF MEMORY. 

B. C. 544 : Ageladas born. 

A. D. 544 : Gregory of Tours born. 

B. 0. 550 : Hecatseus born. 

A. D. 550 : Columbanus born. 

B. 0. 550: Nebuchadnezzar invaded Egypt. 

A. D. 550 : Slavs and Huns invaded Eome. 

B. O. 570 : Theognis born. 

A. D. 570 : Isidorus born. 

B. C. 695 : Alcman born. 

A. D. 695 : Damascenus .born. 

B. C. 887: Parchment invented. 

A. D. 887.: Books invented. 

B. C. 892: Hesiod born. 

A. D. 892: Saadia born. 

B. C. 912 : Lycurgus born. 

A. D. 912: Otto the Great born. 

B. C. 995 : Homer born. 

A. D. 995 : King Canute born : 

B. C. 1095 : First dictionary compiled. (Chinese.) 

A. D. 1095: First Crusade. 

B. C. 1106: My cense conquered. 

A. D. 1106: Normandy conquered. 

B. C. 1329: Achaia founded. 

A. D. 1329: Ottoman Empire founded. 

B. C. 1453: Olympian games originated. 

A. D. 1453: Turks captured Constantinople, 

B. C.1492: Thebes founded. 

A. D. 1492: Columbus discovered America. 

B.C. 1506: Flute invented. 

A. D. 1506: St. Peter's Church commenced. 



HISTORICAL DATES. 223 

B. C. 1854: Kingdom of Argos founded. 

A. D. 1854 : Crimean War. 

The next list is of the same character as the pre- 
ceding one^ except that 1000 years is added to all dates 
since the beginning of the Christian era. 

B. C. 25: Pantheon built. 

A. D. 1025 : Musical notation invented. 

B. C. 55: Romans first invaded Britain. 

A. D. 1055 : Battle of Vaccoli. 

B. C. 155 : Marius born. 

A. D. 1155: Saxo Grammaticus born. 

B. C. 190: Romans first invaded Asia. 

A, D. 1190 : Tancred conquered Apulia. 

B. C. 228 : Flamininus, Acilius . . • born. 

A. D. 1228 : ' Voragine born. 

B. C. 270 : Fabius, Plautus born. 

A. D. 1270: Wallace, Cino born. 

B. C. 276 : Eratosthenes born. 

A. D. 1276: Giotto ..born. 

B. C. 280 : Chrysippus born. 

A. D. 1280 : William of Occam born. 

B.C. 280: Battle of Heraclea. 

A. D. 1280: Moguls conquered China. 

B. C. 283 : Livius Andronicus born. 

A. D. 1283: Martino born. 

B. C. 284: Alexandrian Librarj^ founded. 

A. D. 1284: Kingdom of Navarre fell. 

B. C. 290: Manetho .born. 

A. D. 1290: Tauler ..born. 



224 THE ART OF MEMORY. 

B. C. 312: Appian Way commenced. 

A. D. 1312: Orleans University founded. 

B. O. 372: Mencius born. 

A. D. 1372 : Foscari born. 

B. C. 377 : Theopompus born. 

A. D. 1377 : Brunelleschi born. 

B. C. 381 : Heraclides born. 

A. D. 1381 : Chartier born. 

B. C. 383: Battle of Mantineia. 

A. D. 1383: Tamelane conquered Turkistan. 

B. C. 402 : Phocion born. 

A. D. 1402: Masaccio, Dunois -born. 

B. C. 405: Agrigentum destroyed. 

A. D. 1405: Venetians conquered Padua and Verona. 

B. C. 413: Battle of Syracuse. 

A. D. 1413 : Ladislas plundered Kome. 

B.C. 420: Isseus born. 

A. D. 1420: Torquemada, John Wessel, Gozzoli. .born. 

B. C. 422 : Epaminondas born. 

A. D. 1422: Caxton, Baldovinetti born. 

B. C. 443: Parthenon begun. 

A. D. 1443: Eton College founded. 

B. C. 445 : Eupolis born. 

A. D. 1445 : Comines, Eberhard born. 

B. C. 447: Battle of Coronea. 

A. D. 1447: Vatican Library founded. 

B. C. 448: Aristophanes born. 

A. D. 1448: Lorenzo de Medici born. 

B. C. 453 : Cleon born. 

A. D. 1453: Albuquerque, Gonzalo born. 



E. C. 


473: 


A.D. 


1473: 


B. C. 


479: 


A.D. 


1479. 


B. C. 


479: 


A.D. 


1479' 


B. C. 


480: 


A.D. 


1480: 


B. C. 


488: 


A.D. 


1488: 


B. C. 


496: 


A.D. 


1496 


B. C. 


497 


A.D. 


1497 


B. C. 


519 


A.D. 


1519 


B. C. 


520 


A.D. 


1520 


B. C. 


522 


A.D. 


1522 


B. C. 


525 


A.D. 


1525 


B. C. 


539 


A.D. 


1539 


B. C. 


555 


A.D. 


1555 


B. C. 


576 


A.D. 


1576 


IE 


1 



HISTORICAL DATES. 225 

Prodicus born. 

Copernicus born. 

Protagoras born. 

Sodoma, Giraldi born. 

Battle of Platsea. 
Battle of Weissenburg. 

Battles of Therymopylse and Salamis. 
Spanish Inquisition established. 

Phidias born. 

Kaimondi, Van Hutten, Coverdale, 
Beccaf umi born. 

Hellanicus born. 

Marot, Gustavus Vasa born. 

Pericles born. 

Melancthon, Holbein born. 

Cratinus born. 

Beza^ Csesalpinus born. 

Cincinnatus, Aristides born. 

Flacius, Castelnau, Cujas, Goujon, 
Churchyard born. 

Pindar born. 

Egmont, Aldrovandi born. 

Cambyses conquered Egypt. 
Battle of Pavia. 

Parmenides • born. 

Socinus, Acosta born. 

Simonides born. 

Carracci, Arndt, Malherbe born. 

Cyrus the Great born. 

Burton, Vincent de Paul born. 



226 THE ART OF MEMORY. 

B. 0. 578: Servius Tullius born. 

A. D. 1578: Harvey, Albani born. 

B. 0. 582: Pythagoras born. 

A. D. 1582 : Episcopius born. 

B.C. 582: Agrigentum founded. 

A. D. 1582: Edinburgh University founded. 

B. C. 598: Nebuchadnezzar captured Jerusalem. 

A. D. 1598: Edict of Nantes. 

B. C. 604 : Lao-tsze born. 

A. D. 1604: John Eliot, Heem, Pocock born. 

B. C. 606 : Anaximenes born. 

A. D. 1606: Rembrandt, Corneille, Gerhardt. . . -born. 

B. C. 608 : Sappho born. 

A. D. 1608: Torricelli, Milton, Puller, Clarendon, 

Montecuculi, Monk born. 

B. C. 608: Chess invented. 

A. D. 1608: Telescope invented. 

B.C. 620: ^sop, Alcseus, Xenophanes born. 

A. D. 1620: Evelyn, Maimbourg born. 

B. C. 628 : Epimenides born. 

A. D. 1628: Bunyan, Perrault, Luxembourg, Mal- 

pighi born. 

B. C. 638: Solon -born. 

A. D. 1638: Malebranche, Simon, Hobbema born. 

B. C. 644: Thales • -born. 

A. D. 1644: Bouflers, William Penn born. 

B.C. 660: Japan founded. 

A. D. 1660 : Roj^al Society, London, founded. 

B. C. 675: Byzantium founded. 

A. D. 1675 : Greenwich Observatory founded. 



HISTORICAL DATES. 227 



B. 0. 753: Rome founded. 



A. D. 1753 



British Museum founded. 



B. C. 776: First authentic' date. 

A. D. 1776: U. S. Declaration of Independence. 

B. C. 780 : Zaleucus born. 

A. D. 1780: Beranger, Audubon, Chalmers, Chan- 

ning, Ingres born. 

B. C. 814: Macedon founded. 

A. D. 1814: Kingdom of Hanover founded. 

The next list consists of dates B. C. which are 100 
years apart: 

B. C. 705: Esarhaddon -born. 

B. C. 605 : Pisistratus born. 

B. C. 651: Pittacus • born. 

B. C. 551 : Confucius born. 

B. C. 644: Thales .born. 

B. C. 544: Ageladas born. 

B. C. 630 : Stesichorus, Erinna born. 

B. C. 530 : Cleomenes *. born. 

B. C. 620: ^sop, Alcseus, Xenophanes born. 

B. C. 520: Cincinnatus, Aristides born. 

B. C. 608: Sappho born. 

B. C. 508: Pausanias born. 

B. C. 590 : Croesus born. 

B. C. 490 : Empedocles born. 

B. C. 540 : Epicharmus born. 

B. C. 440 : Parrhasius born. 

B. C. 536 : Heraclitus born. 

B. C. 436 : Isocrates born. 



228 THE ART OF MEMORY. 

B. C. 525 : ^schylus born. 

B. 0. 425 : Antisthenes born. 

B. C. 520: Cincinnatus, Aristides born. 

B. 0. 420 : Isseus born. 

B. 0. 512 : Phry nicus born. 

B. C. 412: Diogenes born. 

B. 0. 508 : Pausanias born. 

B. C. 408: Dion, Timoleon born. 

B. C. 496 : Hellanicus born. 

B. C. 396: Xenocrates, Hyperides. born. 

B. C. 484: Herodotus born. 

B. C. 384: AristQtle, Demosthenes born. 

B. C. 468: Socrates born. 

B. 0. 368: Theophrastus born. 

B. C. 460: Democritns, Hippocrates born. 

B. C. 360 : Protogenes born. 

B. C. 456 : Brasidas born. 

B. C. 356: Alexander the Great born. 

B. C. 454 : Timotheus born. 

B. C. 354 : Cassander born. 

B. C. 450 : Alcibiades born. 

B.C. 350: Zeno born. 

B. C. 446 : Camillus » . • • born. 

B. C. 346: Demetrius Phalereus born. 

B. C. 441: Philistus .born. 

B. C. 341 : Epicurus born. 

B. C. 435 : Philoxenus born. 

B. C. 335: Demetrius Poliorcetes born. 

B. C. 432 : Lysander born. 

B. C. 332: Apelles born. 



HISTORICAL DATES. 229 

B. C. 399 : Eudoxus born. 

B. C. 299 : Callimachus born. 

B. C. 387: Praxiteles born. 

B. C. 287 : Archimedes born. 

B. C. 368 : Theophrastus born. 

B. C. 268: Marcellus . . . , born. 

B. C. 352 : Timseus born. 

B. C. 252: Philopoemen born. 

B. C. 310 : Theocritus born. 

B. C. 210: Polybius born. 

B. C. 249 : Apollonius born. 

B. C. 149 : Lucilius born. 

B. C. 238: Ennius, Masinissa born. 

B. C. 138: Sulla born. 

B. C. 205: ^milius born. 

B. C. 105 : Lucullus, Laberius born. 

B. C. 170 : Philostratus born. 

B. C. 70: Virgil, Maecenas born. 

B. C. 114 : Hortensius born. 

B. C. 14: Philo born. 

The next list consists of dates B. C. which are 200 
years apart: 

B. C. 650 : Draco born. 

B. C. 450 : Alcibiades born. 

B. C. 630: Stesichorus, Erinna born. 

B. C. 430 : Dionysius born. 

B. C. 620: ^Esop, Alcseus, Xenophanes born. 

B. C. 420: Isjeus born. 

B. C. 608: Sappho born. 

B.C. 408: Timoleon born. 



230 THE ART OF MEMORY. 

B. C. 552: Hipparchus .born. 

B.C. 352: Timseus born. 

B. C. 535 : Thespis first exhibited Tragedy. 

B. C. 335 : First private library. 

B. C. 480: Euripides, Antiphon .•'. born. 

B. C. 280 : Chrysippus . . ; born. 

B. 0. 471: Thucydides born. 

B.C. 271: Aratus , born. 

B.C. 468: Socrates • born. 

B. C. 268: Marcellus .born. 

B.C. 445: Eupolis — '• • born. 

B. C. 245 : Hermippus born. 

B. C. 438 : Lysias born. 

B. C. 238: Ennius born. 

B. C. 429: Plato born. 

B. C. 229: Paulus born. 

B. C. 316 : Arcesilaus born. 

B. C. 116 : Varro born. 

B. C. 276 : Eratosthenes born. 

B. C. 76 : Asinius Pollio born. 

B. C. 265 : Naevius ......... born. 

B. C. 65 : Horace born. 

B.C. 260: First Roman fleet. 

B. C. 60 : First Roman Triumvirate. 

The next list consists of dates B. C. 500 years apart: 

B. C. 995 : Homer born. 

B. C. 495 : Sophocles born, 

B. C 912: Lycurgus born. 

B. C. 412: Diogenes born. 



HISTORICAL DATES. 231 

B. C. 638: Solon born. 

B. C. 138: Sulla born. 

B. C. 606 : Anaximenes born. 

B. 0. 106 : Pompey, Cicero born. 

B. C. 583 : Ibycus born. 

B. C. 83: Mark Antony born. 

B. C. 570 : Theognis born. 

B. C. TO : Virgil born. 

B. C. 562: Anacreon born. 

B. C. 62 : Agrippa born. 

B.C. 542: Cyrus overthrew Croesus. 
B.C. 42: Battle of Phillippi. 

B.C. 519: Persian Empire founded. 

B.C. 19: Kome subdued Spanish Peninsula. 

B. C. 510 : Cimon born. 

B. C. 10 : Claudius (Tiberius) born. 

The next list consists of dates B. C. which are 1000 
years apart: 



B. C. 1556 
B.C. 556 

B. C. 1490 
B.C. 490 

B. C. 1431 
B.C. 431 



Athens founded. 
Persians conquered Medes. 

Sparta founded. 
Battle of Marathon. 

My cense founded. 
Peloponnesian War begun. 



The following list is of dates A. D. which are 100 
years apart: 

A. D. 25 : Silius Italicus born. 

125 : Apuleius born. 



232 THE ART OF MEMORY. 

A. D. 245: Diocletian :..born. 

345: Kufinus born. 

752: Irene born. 

852: Albategni born. 

825: Methodius born. 

925 : Dunstan born. 

839: Tabari born. 

939: Almansor, Hugh Capet born. 

1160 : Villehardouin born. 

1260 : Frauenlob born. 

1165 : William the Lion born. 

1265: Dante, Duns Scotus born. 

1216 : Kublai Khan born. 

1316 : Barbour born. 

1240 : Cimabue born. 

1340 : Chaucer, Groot ". . born. 

1265: House of Commons founded. 

1365: Vienna University founded. 

1268: Barons' War. 

1368: Moguls expelled from China. 

1275: Andrea, Villani born. 

1375 : Lydgate born. 

1304: Petrarch, Ibn Batuta born. 

1404 : Alberti born. 

1347: Bajazet, St. Catherine born. 

1447 : Botticelli born. 

1351: Order of Garter instituted. 

1451: Glasgow University founded. 

1355 : Chrysoloras born. 

1455 : Reuchlin born. 



HISTORICAL DATES. 23S 

!A. D. 1369: John Huss born. 

1469 : Machiavelli, Emmanuel the Great . . born. 

1382: Solario born. 

1482 : Marcantonio born. 

1398: Filelfo born. 

1498: Moretto born. 

1401 : Cusa born. 

1501 : Cardan born. 

1403 : Chastelain born. 

1503 : Wyatt, Estienne born. 

1421: Engraving invented. 

1521: Muskets invented. 

1425 : Henry son born, 

1525 : Maitland born. 

1428: Warwick, Acciajuoli born. 

1528: Veronese, Muziano born. 

1433 : Ficino, Mirkhond born. 

1533 : Montaigne, William the Silent, Queen 

Elizabeth, Baldi born. 

1437 : Abrabanel born. 

1537 : Guarini born. 

1440 : Signorelli born. 

1540: Scaliger (J. J.), Brantome, Wm. Gil- 
bert born. 

1444 : Bramante born. 

1544 : Tasso born. 

1446 : Perugini, Columbus born. 

1546: Tycho Brahe, Farnese, Fischart born. 

1451 : Vespucci born. 

1551 : Camden, Espinel born. 



234 THE ART OF MEMORY. 

A. D. 1452: Savonarola, Leonardo da Vinci born. 

1552: Spenser, Raleigh, Coke, Sarpi, Gen- 

tili, Eicci, Cliiabrera born. 

1455: First printed book. 

1555: Diet of Augsburg. 

1460 : Skelton, Dunbar, Gama, Linacre . . . born. 

1560 : Crichton, Arminius, Ainsworth born. 

1465: Luini, Boece born. 

1565: Tassoni, Argensola born. 

1467: Erasmus, Sigismond the Great born. 

1567: Acidalius, Alabaster born. 

1468: Eneina born. 

1568: Monteverde, Campanella born. 

1470: Magellan born. 

1570 : Ferishta born. 

1472: Cranach, Elias Levita. born. 

1572: Aarssens born. 

1473 : Copernicus born. 

1573 : Donne, Regnier born. 

1474: Ariosto, Douglas, Las Casas born. 

1574 : Marston, Ben Jonson born. 

1477: Titian, Giorgione born. 

1577: Rubens, AUori, Jacob Cats, Dekker.born. 

1481 : Peruzzi born. 

1581: Domenichino, Hooft born. 

1483: Baber, Luther, Raphael, Jovius, Gar- 
diner, Guicciardini born. 

1583 : Grotius, Wallenstein, Gibbons born. 

1484: Tyndale, Zwingli, Ferrari, Areson, 

Scaliger (J. S.) • born. 

1584: Selden, Massinger, Duchesne, Pym. .born. 



HISTORICAL DATES. 235 

A. D. 1485 : Cortez born. 

1585: Kichelieu, Beaumont, Jansen, Drum- 

mond, Bartholinus born. 

1492 : Pippi born. 

1592: Gassendi, Guercino, Buckingham. . .born. 

1493 : Paracelsus born. 

1593 : Ferrar, Izaak Walton born. 

1509: Calvin born. 

1609 : Hale, Fleming born. 

1510: Palissy, Moroni, Goudimel born. 

1610: Ormonde, Duquesne, Asselyn, Du- 

cange born. 

1511 : Servetus born. 

1611 : Fairfax, Turenne born. 

1512: Mercator, Kavenna, Tintoretto, Vas- 

ari born. 

1612: Butler, Leighton, Arnauld born. 

1513 : Amyot born. 

1613 : Menage, La Rochefoucauld, Crashaw, 

Montrose, Jeremy Taylor born. 

1515: Tallis, Neri, St. Theresa, Roger 

Ascham born. 

Baxter, Denham, Salvator Rosa born. 



1615 

1517 
1617 

1520 
1620 

1521 
1621 



Surrey, John Foxe. born. 

Cudworth born. 

Massacre of Stockholm. 
Battle of Prague. 

Maurice born. 

Shaftesbury, Conde, Marvell, La Fon- 
taine born. 



236 THE ART OF MEMORY. 

A. D. 1524 : Palestrina, Kousard, Camoens, Eras 

tus, Hotman, Bologne born. 

1624: Sobieski, Sydenham born. 

1527 : Dee born.. 

1627 : Bossuet, Boyle born. 

1530: Bodin born. 

1630 : Barrow, Tillotson, Huet, Metsu born. 

1535: Molina,, Frobislier, Gascoigne born. 

1635 : Spener, Betterton born. 

1538: Baronius born. 

1638: Malebranche, Simon, Hobbema born. 

1539 : Socinus, Acosta born. 

1639 : Racine born. 

1541 : Charron born. 

1641 : Arnaud, Rymer born. 

1542: Bellarmine, Akbar born. 

1642: Newton, Filicaja born. 

1544: Tasso born. 

1644 : Bouflers, William Penn born. 

1553: Eccard, Alpini, Hakluj^t, Lyly ...... born. 

1653: Corelli born. 

1571 : Kepler born. 

1671: Gibber born. 

1585: Edict of Nemours. 

1685: Edict of Nantes revoked. 

1586: Barneveldt, Ford born. 

1686 : Fahrenheit, Ramsay, Law born. 

1588: Salmasius, Hobbes born. 

1688: Pope, Swedenborg, Marivaux, Freret, 

Gay, Nadir Shah born. 



A. D. 1597 
1697 

1602; 
1702: 

1604; 
1704 

1605 
1705 

1609 
1709 

1623 
1723 

1624; 
1724; 

1629; 
1729; 

1632; 



1732; 

1633 
1733 

1636 
1736 

1640 
1740 



HISTORICAL DATES. 237 

Eomanoff, Van Tromp born. 

Maupertuis, Hogarth, Anson, D'An- 
ville born. 

Cardinal Mazarin born. 

Doddridge born. 

John Eliot, Heem, Pocock born. 

Arne, Mansfield born. 

Waller, Urquhart born. 

Tucker, Hartley, Artedi, Farinelli . . born. 

Thermometer invented. 
Anemometer invented. 

Pascal born. 

Blackstone, Kuhnken, Adam Smith, 
Sir Joshua Eeynolds born. 

Sobieski, Sydenham born. 

Kant born. 

Huyghens born. 

Lessing, Burke, Heyne, Spallanzani.born. 

Locke, Spinoza, Pepys, Wren, Puffen- 
dorf. Hooch, Bourdaloue, Mabillon, 
Beaumarchais, Flechier, Gmevius, 
Leeuwenhock born. 

Washington, Hastings, Haydn, Neck- 
er, Lalande, Falconer, Arkwright.born. 

Vandevelde, South, Magliabechi. . . -born. 
Priestley • born. 

Boileau, Hvde born. 

Watt, Tooke, Lagrange born. 

Wycherley, Fleury, Hennepin, Leo- 
pold the Great born. 

Boccherini, Boswell, Montgolfier, 

Bellman born. 



238 THE ART OF MEMORY. 

A. D. 1642: First Public Schools, U. S. 

1742: Centigrade Thermometer invented. 

1643 : Burnet » born. 

1743: Paley, Condorcet, Jefferson, Oagli- 

ostro, Lavoisier, Jacobi born. 

1645 : La Bruyere born. 

1745: Volta, Jay, Lindley Murra}^, Hannah 

More born. 

1645: Battle of Naseby. 
1745: Battle of Fontenoy. 

1646 : Leibnitz ^ born. 

1746 : Pestalozzi, Kosciusco, Grattan, Wyt- 

tenbach, Monge, Goya, Sir Wm. 

Jones born. 



1648 
1748 

1651 
1751 

1652 
1752 



Kneller, Barclay born. 

David, Bentham, Burger born. 

Fenelon, Otway born. 

Sheridan, Eldon, Voss. ............. .born. 

First newspaper advertisement. 
First English Bible printed in the U. S. 



1653: Corelli - .born. 

1753: Eoscoe, Carnot, Bewick, Stanhope, 

Vergniaud, Dugald, Stewart. .... .born. 

1655 : Steff ani born. 

1755: Hahnemann, Flaxman, Marie An- 
toinette, Mrs. Siddons born. 

1657 : Fontenelle born. 

1757: Lafayette, Canova, Hamilton, Auge- 

reau, Kemble, Gillray, Wm. Blake born. 

1659: A. Scarlatti • .born. 

1759: Porson, Wilberforce, Pitt, Danton, 

Schiller, Burns born. 



H'ISTORICAL DATES. 239 

A. D. 1660: Stahl, Sloane born. 

1760: Cherubini, St. Simon, Desmoulins. . .born. 

1661: Kollin, De Foe, Buffier, Fux, Dahl- 

stjerna born. 

1761: Opie, Gallatin, Picliegru, Sir John 

Moore born. 

1663: Magnusson, Amontons, Cotton Math- 
er, Eugene of Savoy born. 

1763: Richter, Talma, Morland, Fouche. • .born. 

1664: Prior, Alberoni, Queen Anne born. 

1764 : Bernadotte, Abernethy, Robert Hall . born. 

1666 : Geminiani, Vanbrugh, Wotton ...... born. 

1766: Malthus, Wollaston, Dalton, Ersch, 
Mme. de Stael, Alex. Wilson, Lady 
Nairne born. 

1667 : Swift, Arbuthnot, Whiston ''. born. 

1767: Schlegel, Hofer, Maria Edgeworth. . -born. 

1667 : Calculating machine invented. 
1767: First Nautical Almanac. 

1668: Boerhaave, Le Sage, Vico, D'Agues- 

seau, Fabricius born. 

1768: Chateaubriand, Schleiermacher, Al- 
varez, Anglesey, Kriloff born. 

1674 : Crebillon, Isaac Watts born. 

1774: Southey, Mezzofanti, Braham, Ash- 
burton, Thibaut, Tannahill born. 

1678: Bolingbroke, Farquhar born. 

1778: De Candolle, Hallam, Gay-Lussac, 
Peale, Hazlitt, Hummel, Ast, Sir 
Humphrey Davy born. 



240 THE ART OF MEMORY. 

A. D. 1679: Abanzit born. 

1779: Brougham, Oken, Allston, Oehlen- 
schliiger, Berzelius, Thomas 
Moore born. 

1681: Edward Young born. 

1781: Stephenson, Chantrey, Poisson born. 

1682: Bottcher born. 

1782: Webster, Calhoun, Froebel, Lamen- 

nais, Sir Chas. Napier born. 

1683 : Middleton, Reaumur, D. Scarlatti . . . born. 
1783: Bolivar, Irving, Geijer born. 

1684 : Lardner, Holberg, Astruc, Durante . . born. 

1784: Burckhardt, Paganini, Auber, Spohr, 
Palmerston, Worcester, Knowles, 
Leigh Hunt born. 

1685: Handel, Bach, Berkeley born. 

1785: Wilkie, Grimm, Napier, Broglie, De 
Quincey, Croly, Boeckh, Manzoni, 
Christopher North born. 

1687 : Bengel, Dillen born. 

1787: Kean, Uhland, Guizot, Etty, Arch- 
bishop W^hately born. 

1689 : Montesquieu, Piron born. 

1789: Neander, Overbeck, Daguerre, Hor- 
ace Vernet, J. Fenimore Cooper, .born. 

1690: First Newspaper, U. S. 
1790 : Metric system originated. 

1691 : Hardwicke born. 

1791: Faraday, Bunsen, Czerny, Grill- 

parzer, Encke, Bopp, Chas. Wolfe. born. 



HISTORICAL DATES. 241 

A. D. 1692: Bishop Butler born. 

1792: Kossini, Cruikshank, Marryatt, Shel- 
ley, Payne, Bowring, Baratynski, 
Cousin, Baur, Murchison, Giese- 
ler, Keble born. 

1693 : James Quin born. 

1793: Macready, Eastlake, Almquist, Dela- 

vigne, Felicia Hemans born. 

1694: Chesterfield, Voltaire, Mosheim, 

Hutcheson born. 

1794: Lockhart, Meyerbeer, Grote, Mosch- 
eles, D^Aubigne, Everett, W. C. 
Bryant, Paul de Kock born. 

1696: Brueker, Lignori, Marshal Saxe born. 

1796: Corot, Steiner, W. H. Prescott born. 

1698 : Warburton, Savage, Metastasio born. 

1798: Comte, Michelet, Beneke, Delacroiz, 
Leopardi, Azeglio, Mickiewicz, 
Donizetti, Banim, Thomas Hood. .born. 

1701: Graun, Boscovich, Hyder Ali born. 

1801: Gioberti, Littre, Bremer, Pltickner, 

Bastiat born. 

1702: First English newspaper (daily). 
1802: Photography invented. 

1703: Wesley, Jonathan Edwards born. 

1803: Jerrold, Emerson, Liebig, Borrow, 

Ewald, Merimee, Berlioz born. 

1704 : Arne, Mansfield born. 

1804: Sue, Hawthorne, Cobden, Sainte 
Beuve, D'Israeli, Garrison, Glinka, 
Sir Julius Benedict, George Sand. born. 

16 



242 THE ART OF MEMORY. 

A. D. 1707 : Linnaeus, Buff on, Goldoni, Fielding, 

Euler, Ernesti born. 

1807: Agassiz, Longfellow, Whittier, Gari- 

sbaldi born. 

1707 : First Parliament, Great Britain. 
1807: Slavery abolished, Great Britain. 

1709: Dr. Johnson, Gresset born. 

1809: Mendelssohn, Tennyson, Chopin, Poe, 
Lincoln, Holmes, Darwin, Glad- 
stone, Proudhon, Rieasoli, Maccul- 
lagh. Park Benjamin, Elizabeth B. 
Browning born. 

1710 : Reid, Pergolesi, Cullen born. 

1810: Alford, Musset, Schumann, Cavour, 
Renter, Mario, Tupper, Ole Bull, 
Theodore Parker born. 

1711: Hume, Piranesi, Kaunitz born. 

1811: Thackeray, Sumner, Gautier, Bright, 
Liszt, Burritt, Leverrier, Sandeau, 
Greeley, Wendell Phillips born. 

1711 : War, Russia and Turkey. 
1811 : Massacre of Mamelukes. 

1712: Rousseau, Frederick the Great born. 

1812: Dickens, Browning, Flotow, Meisson- 

ier, Thalberg, Grisi, Macleod born. 

1713: Diderot, Sterne, Lacaille born. 

1813: Lepsius, Wagner, Beecher, Pitman, 

Helps, Waitz, Dr. Livingstone. • • born. 

1714 : Vattel, Whitefield, Shenstone, Gluck born. 

1814: Verdi, Bismarck, Reade, Motley, 
Ernst, ^Millet, Harriet Beecher 
Stowe ' born. 



HISTORICAL DATES. 243 

A. D. 1714 : Typewriter invented. 
1814: First printing machine. 

1715: Helvetius, Condillac, Lemonnier born. 

1815: Tischendorf, Dean Stanley, Grace 

Darling born. 

1716: Garrick, Gray, Barthelemy born. 

1816 : Gerstiicker, Smiles, Charlotte Bronte, 
Charlotte Cushman, Philip James 
Bailey born. 

1717: D'Alembert, Winckelmann, Mich- 

aelis, Maria Theresa born. 

1817: Thoreau, Armitage, Lotze bom. 

1718: Brainerd, H. Walpole born. 

1818: Northcote, Gounod, Froude, Tourgue- 

nieff born. 

1720 : Collins, Stuart, Bonnet born. 

1820: Tyndall, Spencer, Yieuxtemps, Dr. 
Kane, Jenny Lind, Florence Night- 
ingale born. 

1721 : Smollett, Akenside, Foote, Wm. Col- 
lins born. 

1821: Buckle, Mariette, Baker, Kistori, Sir 

Richard Burton, Sims Reeves born. 

1723: Blackstone, Ruhnken, Adam Smith, 

Sir Joshua Reynolds born. 

1823: Renan, Max Mtiller born. 

1726: Schwarz, John Howard born. 

1826: Kirchofe -born. 

1726 : Fahrenheit thermometer invented. 
1826 : Kerosene first used. 



244 THE ART OF MEMORY. 

A. D. 1727 : Wilkes, Tiirgot, Gamsboroiigli, Gen. 

Wolfe born. 

1827 : Speke born. 

1728: Goldsmith, Hunter, Frisi, Capt. Cook.born. 

1828: Ibsen, Tolstoi, Eossetti, Sala, Bier- 

stadt born. 

1729: Lessing, Burke, Heyne, Spallanzani.born. 

1829: Rubinstein, Gottsclialk born. 

1730: Suwaroff, Wedgwood born. 

1830: Blaine born. 

1730 : Reaumur thermometer invented. 

1830: Revolvers invented. 

1731: Cowper, Churchill, Cavendish born. 

1831: Sardou, Joachim, Tietjens. born. 

1733: Priestly born. 

1833: Brahms, Booth, Stedman, Sir Chas. 

Russell born. 

1734: Romney, Mesmer, Barthez born. 

1834 : Spurgeon born. 

1735 : Beattie, Boone born. 

1835 : Samuel L. Clemens ("Mark Twain") . . born. 

1735: Stereotyping invented. 

1835: Telegraph invented. 

1737: Gottingen University founded. 

1837: Phonography invented. 

1738: Herschel, West born. 

1838: Lecky born. 

1739 : Dumouriez born. 

1839: Bret Harte born. 



HISTORICAL DATES. 245 

A. D. 1741: Lavater, Ali Pasha, Fuseli, Gretry. .born. 

1841: Joaquin Miller, Prince of Wales born. 

1742: Blticber, Rennell born. 

1842: Coppee born. 

1744: Marat, Herder, Mitford, Lamarck born. 

1844: Munkacsy, Sir Arthur Sullivan born. 

1746: Princeton University founded. 

1846: Neptune discovered. 

1747 : St. Petersburg University founded. 

1847: Sewing machine invented. 

1747: Dr. Parr born. 

1847: Edison born. 

1750 : Curran, Erskine, Werner, Dolomieu . . born. 

1850 : Sara Bernhardt born. 

1752: Lightning rod invented. 

1852: Sydney University founded. 

1756 : "Black Hole" of Calcutta. 

1856: Treaty of Paris. 

1757: Battle of Plassy. 

1857: Great Mutiny, India. 

1758: Achromatic object-glass invented. 

1858: Sleeping car invented. 

1769: Steam engine invented. 

1869 : Suez Canal opened. 

1770: War, Kussia and Turkey. 

1870: War, France and Germany. 

1771 : First English Encyclopaedia, 

1871: Great Chicago fire. 

1777: Knitting machine invented. 

1877: Phonograph invented. 



246 THE ART OF MEMORY. 

A. D. 1789 : French Eevolution. 

1889: Brazilian Revolution. 

1793 : Cotton-gin invented. 

1893: World's Columbian Exposition. 

The next list is of dates A. D. 200 years apart. 

130: Galen born. 

330: Basil the Great. born. 

146: Severus born. 

346: Theodosius the Great born. 

822: Photius born. 

1022: Harold II born. 

850 : Harold Fairhair born. 

1050 : Peter the Hermit born. 

941 : Firdousi born. 

1141 : Nizami born. 

945 : Eric the Red born. 

1145 : Bohaddin born. 

1027: William of Normandy born. 

1227: Thomas Aquinas born. 

1163: Jenghiz Khan born. 

1363 : Gerson born. 

1193: Albertus Magnus born. 

1393 : Capgrave born. 

1206 : Pisano born. 

1406: Valla born. 

1207: Rumi born. 

1407: Littleton born. 

1223 : Elmacin born. 

1423: Louis XI born. 



HISTORICAL DATES. 247 

A. D. 1226 : Abulfaragius born. 

1426: Pontanus born. 

1286: Odoric born. 

1486: Eck born. 

1325: Gower born. 

1525 : Maitland born. 

1364: Makrizi born. 

1564: Shakespeare, Marlowe, Galileo, Bux- 

torf born. 

1378: Hardyng, GMberti born. 

1578: Parvey, Albani born. 

1380: Poggio, St. Bernardin, Thomas a 

Kempis born. 

1580: Allegri, Archbishop TJssher born. 

1387: Fiesole born. 

1587 : Olivarez born. 

1403: Battle of Shrewsbury. 

1603: Union of England and Scotland. 

1409: Leipsic University founded. 

1609: Bank of Amsterdam founded. 

1431: Villon, Mantegna, Elphinstone born. 

1631 : Dryden born. 

1450 : Manutius born. 

1650 : Marlborough, Kooke, William Prince 

of Orange born. 

1453: Turks captured Constantinople. 

1653: "Barebones'' Parliament. 

1476: Sebastian Cabot born. 

1676: Giannone, Sir Robert Walpole born. 



248 THE ART OF MEMORY. 

'A. D. 1489: Cranmer, Vida born, 

1689: Montesquieu, Piron born. 

1499: Alasco born. 

1699: Dyer • born. 

1506: Xavier, Buchanan, Sleidanus. • born. 

1706: Martini, Benjamin Franklin born. 

1508: Alva born. 

1708 : Haller, Chatham born, 

1509 : Diving bell invented. 
1709 : Piano forte invented. 

1535: First English Bible printed. 
1735: Stereotyping invented. . . 

1554 : Hooker, Sir Philip Sidney born. 

1754: Talleyrand, Crabbe, Kleber, Maistre, 

Mme. Roland born. 

1562: Lope de Yega born, 

1762: Fichte, Cobbett, Bowles, Carey, Sam- 
uel Rogers, Joanna Baillie born, 

1569 : Spinola born, 

1769: Napoleon, Wellington, Soult, Ney, 
Humboldt, Cuvier, Castlereagh, 
Brunei, Bourrienne, Sir Thomas 
Lawrence, Mehemet Ali, Sir John 
Malcolm born, 

1572 : Aarssens born. 

1772: Coleridge, Novalis, Fourier, Ricardo, 

Hogg, Fauriel born, 

1577: Rubens, Allori, Dekker, Jacob Cats, .born, 
1777: Campbell, Gauss, Oersted, La Motte, 

Fouqu6, Henry Clay : . born. 



HISTORICAL DATES. 249 

A. D. 1605 : Gunpowder plot. 

1805; Battle of Trafalgar. 

1614: Logarithms invented. 

1814: First locomotive. 

1640: "Short" and "Long'' Parliament. 

1840: Penny postage originated. 

1643: Barometer invented. 

1843 : Steam lathe invented. 

1694 : Bank of England established. 

1894 : War, China and Japan 

The next list is of dates A. D. 300 years apart. 

730 : Alcuin born. 

1030: St. Bruno born. 

822: Photius born. 

1122: Eleanor of Aquitaine born. 

874: Iceland settled. 

1174: Leaning Tower of Pisa commenced. 

980 : Avicenna born. 

1280: William of Occam born. 

990 : Damiani born. 

1290: John Tauler born. 

1040 : Rashi born. 

1340 : Chaucer, Groot born. 

1157: Bank of Venice established. 

1457: First newspaper. 

1221 : Bonaventura ....:.... born. 

1521 : Maurice • • born. 

1325 : Gower born. 

1625 : Nicole born. 



250 THE ART OF MEMORY. 

A. D. 1349 : Iron wire first made. 

1649: Hydraulic press invented. 

1477: Watches and Violins invented. 

1777: Torpedoes invented 

1480: Spanish Inquisition established. 

1780: Sunday-Schools established. 

1492: Columbus discovered America. 

1792: Battle of Valmy. 

1526: Mogul Empire founded. 

1826 : War, Turkey and Russia. 

1551 : First Comedy performed, England. 

1851: World's Fair, London. 

The next list is of dates A. D. 500 years apart. 

36 : Quintilian born. 

536: Agathias, Evagrius born. 

232: War, Severus and Persians. 

732: Battle of Tours. 

614: St. Hilda .born. 

1114 : Gerard of Cremona- born. 

622: Hegira of Mohammed. 

1122 : Concordat of Worms. 

689: Charles Martel born. 

1189: St. Edmund born. 

698: Arabs destroyed Carthage. 

1198: Battle of Gisors. 

750: Organ invented. 

1250 : Gunpowder invented. 

829: England founded. 

1329: Ottoman Empire founded. 



HISTORICAL DATES. 261 

A. D. 886: Oxford University founded. 

1386: Heidelberg University founded. 

886 : Mas' udy born. 

1386 : Donatello born. 

891: Eudagi born. 

1391 : Michelozzi born. 

895 : Atlielstane born. 

1395: Bessarion born. 

896: Hungary founded. 

1396: Battle of Mcopolis. 

919: Germany founded. 

1419: Hussite wars began, 

920 : Haco born. 

1420: Torquemada, John Wessel born. 

935: Hrosvitha born. 

1435 : Yerrocchio born. 

971 : Mahmood born. 

1471: Wolsey, Dtirer, Pizarro born. 

980 : Avicenna born. 

1480: Carlstadt, Gringoire, Sir Thomas 

More born. 

990 : Damiani born. 

1490: Eabelais, Colonna, Lindsay, Schv^enk- 

feld, Berni, Hugh Latimer born. 

992: Poland founded. 

1492: Columbus discovered America. 

994: Godwine born. 

1494: Hans Sachs, Correggio, Castillejo, 

Beaton, Van Leyden born. 



252 THE ART OF MEMORY. 

A. D. 998 : Berengarius born. 

1498: Moretto born. 

1004: Nasir Khosran, Edward the Con- 
fessor born. 

1504 : Parmigiano born. 

1005 : Lanfranc born. 

1505 : John Knox born. 

1017: Omar Khayyam born. 

1517: Surrey, Zarlino, Granvella, John 

Foxe born. 

1017: Danes conquered England. 

1517: Reformation. 

1018: Hardicanute born. 

1518: Robusti, Palladio born. 

1029 : Alp Arslan born. 

1529 : Leicester born. 

1033 : Anselm born* 

1533 : Montaigne, William the Silent, Queen 

Elizabeth, Baldi born» 

1054 : Hariri born. 

1554: Hooker, Sir Philip Sidney born. 

1059: Algazali born. 

1559: Tilly, Casaubon, Chapman born. 

1070: Champeaux -born. 

1570 : Ferishta born. 

1075: Ordericus Vitalis born. 

1575: Guido, Boehmen, Calderwood born. 

1079: Abelard born. 

1579: Fletcher, Rohan born. 



HISTORICAL DATES. 253 

A. D. 1091: St. Bernard born. 

1591 : Herrick born. 

1094: St. Malachy born. 

1594: Saint- Amant, Hampden, Poussin, 

Gustavus Adolphus born. 

1098 : Hildegard born. 

1598: Voiture, Eobert Blake born. 

1099: Edrisi born. 

1599: Velazquez, Van Dyck, Cromwell, Pic- 
colomini, Bochart^ Koger Will- 
iams born. 

1118: Thomas a Becket born. 

1618: Cowley, Murillo born. 

1118: Order Knights Templars founded. 

1618: Thirty Years War began. 

1119 : Perid-Eddin- Athar born. 

1619: Colbert, Kupert, Le Brun born. 

1126 : Averrhoes • born. 

1626: Christina, Mme. Sevigne born. 

1135: Maimonides, St. Hugh born. 

1635: Spener, Betterton ' born. 

1137: Saladin born. 

1637: Ken born. 

1147: Barri born. 

1647: Bayle born. 

1150: First Almanac. 

1650 : Air pump invented. 

1152: Gervaise born. 

1652: Dampier, Pitcairne born. 



254 

A. D. 1157: 
1657: 

1157: 
1657: 

1162: 
1662: 

1170: 
1670: 

1172: 
1672: 

1175: 
1675: 

1179: 
1679: 

1180: 
1680: 

1182: 
1682: 

1190: 
1690: 

1191: 
1691: 

1194: 
1694: 

1203 
1703 

1204 
1704 



THE ART OF MEMORY. 

Eichard Coeur de Lion born. 

Fontenelle born. 

Bank of Venice established. 
Eeflecting telescope invented. 

Abdallatif born. 

Bentley, Atterbury born. 

St. Dominic born. 

Congreve, Carolan, Dubos born. 

Conquest of Ireland. 
Conquest of Holland. 

Grosseteste born. 

Samuel Clarke born. 

Snorro Sturluson born. 

Abuzit born. 

Carpini born. 

Cavalier, Astorga born. 

Accorsi, St. Francis born. 

Bottcher • born. 

Order Teutonic Knights founded. 
Battle of the Boyne. 

Vincent, Scot born. 

Hardwicke born. 

Eccelino born. 

Chesterfield, Voltaire, Mosheim, 
Hutcheson born. 

Inquisition founded. 
St. Petersburg founded. 

Latin Kingdom founded. 
Battle of Blenheim. 



HISTORICAL DATES. 255 

A. D. 1211: Ibn Khallikan born. 

1711: Hume, Piranesi, Kaunitz born. 

1226 : Abulf aragius born. 

1726: Schwarz, John Howard born. 

1231: Manfred born. 

1731: Cowper, Churchill, Cavendish born. 

1237 : Durandus born. 

1737: Gibbon, Hutton, Geddes, Galvani, 

Paine born. 

1246: Siege of Seville. 
1746 : Battle of Culloden. 

1249: Amadeus the Great born. 

1749: Mirabeau, Goethe, Jenner, Fox, Lap- 
lace, Alfieri, Cimarosa, Yogler, 
Tippoo Saib born. 

1268: Barons' War. 

1768 : War, Kussia and Turkey. 

1270: Wallace, Cino born. 

1770: Wordsworth, Thorwaldsen, Beetho- 
ven, Hegel, Foster, Canning, Lord 
Liverpool, Sir Francis Burdett .... born. 

1273: Abulfeda born. 

1773: Jeffrey, F. Schlegel, Tieck, Sismondi, 

Metternich, Thomas Young born. 

1283 : Alhambra commenced. 
1783: Balloon invented. 

1288 : Gersonides born. 

1788: Schopenhauer, Byron, Hook, Arnott, 
Etickert, Kisfaludy, Sir Eobert 
Peel, Sir Wm. Hamilton born. 



256 

A. D. 1290: 
1790: 



1296: 
1796: 

1298: 
1798: 

1299: 
1799: 

1302: 
1802: 

1312: 
1812: 

1315: 
1815: 

1321: 
1824: 

1332: 
1832: 

1336: 
1836: 

1337 
1837 

1346 
1846 

1348 

1848 



THE ART OF MEMORY. 

Tauler bom. 

Champollion, Parry, Bozzarris, La- 
martine, Atterbom, Gibson, Kolc- 
sey born. 

Battle of Dunbar. 
Battle of Lodi. 

Battle of Stirling. 
Battle of the Nile. 

Spectacles invented. 
Lithography invented. 

Mariner's Compass invented. 
Photography invented. 

Orleans University founded. 
Moscow burned. 

Battle of Morgarten. 
Battle of New Orleans. 

Wycliffe born. 

Dobell, Alboni, Wilkie Collins born. 

Ibn Khaldoun born. 

Bjornsen, Dore, Ferry, Edwin Ar- 
nold born. 

Tamerlane born. 

T. B. Aldrich, Almeda-Tameda, Pa- 
repa-Eosa born. 

Froissart born. 

Moody, Swinburne born. 

Battle of Orecy. 

Polish Eepublic crushed. 

Holland founded. 

German Empire established. 



A. D. 1363 
1863 

1367 
1867 

1367 
1867 

1369 
1869 



HISTORICAL DATES. 257 

Fire arms invented. 
Battle of Gettysburg. 

Kremlin (Moscow) founded. 
Paris Exposition. 

Battle of Navaretta. 

War, England and Abyssinia. 

Bastile founded. 
Suez Canal opened. 



The next list is of dates A. D. 1000 years apart. 

34 : Perseus born. 

1034: Cid born. 

40 : Titus born. 

1040: Rashi born. 

53: Trajan born. 

1053: Guibert, Sana'i born. 

55: Tacitus • • -born. 

1055 : Hildebert born. 

60: Apollodorus born. 

1060: Bouillon born. 

121: Marcus Antoninus born. 

1121: Frederick Barbarossa born. 

160: Tertullian • born. 

1160: Villehardouin born. 

185: Origen born. 

1185: Sa'di born. 

196: Fall of Byzantium. 

1196: Moors captured Oalatrava. 

211 : Wall of Severus finished. 

1211: Siege of Salvatierra. 

17 



258 THE ART OF MEMORY. 

A. D. 214 : Claudius (M. Aurelius) born. 

1214 : Koger Bacon born. 

254 : St. Sebastian born. 

1254: Marco Polo born^ 

265 : Eusebius born. 

1265: Dante, Duns Scotus born. 

274: Constantino the Great born. 

1274 : Eobert Bruce born. 

282 : Jamblichus born. 

1282: Marignolli born. 

313: Ulphilas born. 

1313: Boccaccio, Eienzi born. 

314 : Didymus born. 

1314: Dugueschlin, Bartolus born. 

316: Libanius, St. Martin born. 

1316 : Barbour, Orcagna born. 

325: Council of Mce. 

1325 : Battle of Cappiano. 

328: Valens born. 

1328: Deschamps born. 

331 : Julian ..- born. 

1331 : Langland born. 

340: St. Ambrose born. 

1340 : Chaucer, Groot born. 



• 



347 : Chrysostom born. 

1347: Bajazet, St. Catherine born. 

354 : St. Augustine born. 

1354 : Glendower born. 

365 : Claudianus born. 

1365: Jerome of Prague born. 



HISTORICAL DATES. 259 

A. D. 390 : Marcian born. 

1390 : Montezuma I born. 

390: Massacre at Thessalonica. 

1390. European conquests, Amurath I. 

396: St. Patrick born. 

1396: Alphonsus, Coeur born. 

406: Attila, Genseric born. 

1406 : Valla : born, 

410: Alaric sacked Rome. 

1410: Battle of Tannenberg. 

423 : Ricimer born. 

1423: Louis XI born. 

429: Vandals conquered Sicily. 

1429: Battle of Orleans. 

434 : Odoacer born. 

1434 : Boiardo born. 

436: Childeric I born. 

1436 : Ximenes born. 

454: Theodoric . . - born. 

1454 : Politian born. 

455: Genseric sacked Rome. 

1455: War of "Roses" began. 

475: Boetius, Trebonianus born. 

1475 : Michael Angelo, Bayard born. 

476: Roman Empire fell. 

1476: Charles the Bold invaded Switzerland. 

487 : Procopius born. 

1487: Sarto born. 

491 : Tribonian born. 

1491: Lo^^ola, Bucer, Folengo born. 



260 THE ART OF MEMORY. 

A. D. 505 : Belisarius born. 

1505 : John Knox bom. 

516 : Gildas born. 

1516 : Gesner born. 

521 : St. Columba born. 

1521 : Maurice born. 

526: Antioch destroyed by earthquake. 

1526: Hungary conquered by Turks. 

530 : Fortunatus born. 

1530 : Bodin born. 

536: Agathias, Evagrius born. 

1536 : Mariana, Sylburg born. 

571 : Mohammed born. 

1571 : Kepler born. 

575 : Heraclius born. 

1575: Guido, Boehmen, Calderwood born. 

583 : Omar I born. 

1583: Grotius, Wallenstein, Gibbons born. 

602: Archbishop Theodore . . - born. 

1602: Cardinal Mazarin born. 

605: Hwen T'sang, Udall born. 

1605 : Waller, Urquhart born. 

622 : Csedmon born. 

1622 : Moliere, Adelaar born. 

622: Hegira of Mohammed. 

1622: First English newspaper. 

625 : Adamnan born. 

1625. Nicole, De Witt, Ruysdael, Geulincz . . born. 

635: Cambridge University founded. 

1635: French Academy founded. 



A.D. 636 
1636: 

647: 
1647: 

651: 
1651: 

656: 
1656: 

672: 
1672: 

680: 
1680: 

710: 
1710: 

713: 
1713. 

725: 
1725: 

730: 
1730: 

740: 
1740: 

742: 
1742: 

752: 
1752 

756 
1756 



HISTORICAL DATES. 261 

Mosque of Omar founded. 
Harvard University founded. 

Saracens first invaded Africa. 
Masaniello's revolt. 

Dissolution of Persian Kingdom. 
Battle of Worcester. 

Aldhelm born. 

Halley, Eegnard, Largilliere born. 

The Venerable Bede born. 

Addison, Mary Manley, Steele, Mura- 
tori, Peter the Great born. 

St. Boniface born. 

Cavalier, Astorga born. 

Saracens conquered Turkey. 
Battle of Saragossa. 

Bulgarians plundered Thrace. 
Peace of Utrecht. 

Cynewulf born. 

Olive, Semler, Keppel born. 

Alcuin born. 

Suvraroff, Wedgwood born. 

Asmai born. 

Boccherini, Boswell, Montgolfier, 

Bellman born. 

Oharlemagne born. 

Blticher, Eennell born. 

Irene born. 

Legendre, Blumenbach, Ohatterton, 

dementi born. 

Kingdom of Cordova founded. 
Seven Years War beaan. 



262 

A.D. 758 

1758: 

763: 
1763: 

771: 
1771; 

775: 
1775: 



776 
1776 

786: 
1786 

792 
1792; 

799; 
1799 



802; 
1802; 



805: 
1805 



THE ART OF MEMORY. 

Nicephorus born. 

Nelson, Robespierre, Sacy, Massena, 

Noah Webster born. 

Haroun al Raschid • born. 

Richter, Talma, Morland, Fouclie. . .born. 

Eginhard born. 

Sir Walter Scott, Bichat, Trevitliick, 
Mungo Park, Sydney Smith born. 

King Egbert born. 

Lamb, Landor, Schilling, Turner, 
O'Connell, Grotefend, Ampere, 
Boieldieu, Camuccini, Chas. Kem- 
ble, Jane Austen born. 

Hrabanus born. 

Niebuhr, Ballanche, Herbart, Bret- 

schneider. Key born. 

Al-Manum born. 

Weber, Arago, Gesenius, Bishop, Sir 

John Franklin born. 

Paris University founded. 
Battle of Yalmy. 

St. Ignatius born. 

Balzac, Poushkin, Dollinger, Vigny, 
Halevy, Finlay, Rothe, Tholuck, 
Choate born. 

Erigena born. 

Hugo, Landseer, Bellini, Dumas, 
Praed, De Beriot, Hugh Miller, 
Harriet Martineau born. 

Albumazar born. 

Mazzini, Bulwer, Tocqueville, Kaul- 
bach, Gervinus, Hiram Powers, 
Hans Christian Andersen .born. 



HISTORICAL BATES. 268 

A. D. 806 : Hincmar bom. 

1806: Kossuth, Dyce, Lever, Forrest, Son- 
tag, Stirling, John Stuart Mill, N. 
P. Willis, Kobert E. Lee born. 

808: Walafrid born. 

1808: Malibran, Balfe, Mrs. Caroline Nor- 
ton born. 

812: Danes invaded Ireland. 
1812 : War with England. 

822: Photius born. 

1822: Pasteur, Schliemann, Parton, Read, 
Raff, Gen. Grant, Matthew Arnold, 
Rosa Bonheur born. 

825 : Methodius born. 

1825: Huxley, Baj^rd Taylor born. 

840: Hucbald born. 

1840 : Stanley, Daudet born. 

861: Kingdom of Navarre founded. 
1861 : Russian serfs emancipated. 

862: Russia founded. 
1862: ^'Merrimac'' and ^'Monitor.'' 

874: Iceland settled. 
1874: Telephone invented. 

877: Battle of Swansea. 
1877: War, Russia and Turkey. 

The next list is of dates A. D. 1500 years apart. 

9: Vespasian born. 

1509 : Calvin born. 

37: Josephus, Agricola, Nero born. 

1537 : Guarini born. 



264 THE ART OF MEMORY. 

A. D. 39: Lucan born. 

1539: Socinus, Acosta born. 

45 : Statins born. 

1545 : Drake born. 

47 : Juvenal born. 

1547: Cervantes, Bales, Llpsius born. 

48: Epictetus born. 

1548: Stevinus, Suarez, Bruno born. 

51 : Domitian born. 

1551: Camden, Espinel born. 

61: Pliny the Younger born. 

1561: Bacon born. 

96 : Arrian born. 

1596 : Descartes, Amyraut born. 

120 : Lucian born. 

1620 : Evelyn, Maimbourg born. 

256 : Arius, Hosius born, 

1756 : Godwin, Mozart born. 

265 : Eusebius born. 

1765: Mackintosh, Fulton, Karamzin, Bag- 

gesen, Bagration, Baader born. 

297 : Athanasius born. 

1797: Lyell, Delaroche, Thirlwall, Thiers, 
Heine, De Vigny, Schubert, Mer- 
cadante, Karl Mtiller, Eemusat, 

Lover, Cecilia Faber born. 

325 : Council of Nice. 

1825: First passenger railroad. 



HISTOKICAL DATES. 265 

The next list is of dates B. C. and A. D. which are 
500 years apart. 

B. C. 460 : Democritus, Hippocrates born. 

A. D. 40: Titus born. 

B. C. 453: Cleon born. 

A. D. 47: Juvenal iborn. 

B. C. 430: Spartans invaded Attica. 

A. D. 70 : Coliseum built. 

B. C.260: First Roman fleet. 

A. D. 240 : Hour-glasses first used. 

B. C. 227: War, Sparta and Achaian League. 

A. D. 273: Aurelian vanquished Zenobia. 

B. C. 170 : Philostratus born. 



> 



A. D. 330: Basil the Great born. 

B. C. 155 : Marius born . 

A. D. 345 : Rufinus » born. 

B.C. 48: Battle of Pharsalia. 

A. D. 452: Venice founded. 

B. C. 43: Second Roman Triumvirate. 

A. D. 457: Saxon Heptarchy. 

The next list is of dates B. C. and A. D. which are 
1000 years apart. 

B. C. 751 : Syracuse founded. 

A. D. 249: Goths' first Roman invasion. 

B. C. 675: Byzantium founded. 

A. D. 325 : Council of Nice. 

B. C. 624: Gautama (Buddha) born. 

A. D. 376: Alarie born. 



266 



THE ART OF MHMOllY. 



B. coil 
A.I).:iJ)i) 

B. (\539 

A. D. 401 

B. C. 41)5 

A. I). 505 

B. C. 284 
A.D.710 

B. ( \ L>37 

A. D. 7o;^ 

B. a 1 51 

A. D. 841) 

B. C. 05 

A. D, 935 

B. O. 03 
A. 1>. 037 



Annxiniandor born. 

JOl ins born. 

First public librnry. 

Sistinc Choir, Komc, established. 

Sopliocles born. 

l>elisarins born. 

Ah'xandrian l.ibrary fonnded. 
l*a])(M' invented. 

Antioehus the Great born. 

llaronn al Kaschid born. 

A^^atliarcides born. 

Alfred the Great born. 

TTorac(^ born. 

1 Irosvitha born. 

Conspiracy of (^atiline. 
Bailie of Hrnnanbnrh. 



The n(\\t list is of dales B. C. and A. T). which are 
3500 years apart. 



1\. C. 740 
A.D. 700 

B. C. 094 
A.D. 800 

B. C. 510 
A.D. 990 

B. (\ 400 
A.D. 10 10 

B. C, 318 
A.D. 1182 



Seniiraniis rebnilt Babylon. 
Bagdad fonndcMl. 

Sardanapalns born. 

TTincniar born. 

Cimon born. 

Daniiani born. 

Denioerilns, Hippocrates born. 

Ivashi born. 

ryrrhus born. 

si. h'rancis born. 



niST(>KU\AL n ATKS. 



267 



H. (\ 2S0: r»n(ll(' of I hMiuli^a. 

A. 1). Ili2(): I'i'cdcrick 11, ciipliired fl(M'US;iI(Mn. 

B. C. 2T(): Er;il()slh(Mi(\s horn. 

A.1).122J:: JoiiivilU^ boni. 

B. C. 2(>4: I1rsl rimic Wnr. 

A. 1). 12*>(): Mooi's coiKUKM'cd CoidoNa. 

1?. i\ LM7: S(M'()ii(l runic Wav. 

A. 1). 12S;>: W ;il('s snbjiii^ii((Hl. 



A. I). 1LM)S: 

15. (\ KM): 
A.D. i;iJ)l: 

r». (\ !)l: 
A.D. 1 mm;: 

B.C. 71: 
A. 1). 1 ILM): 



l*»;iHI(> of Yuwu-A. 
lIiilMc of Sdi'lino-. 

AMiciis IxMii. 

M icliclozzi born. 

( 'nhilhis boi'n. 

\a\\a born. 

Ivobollion of S|)nrl:i(Mis. 
UjHMo of Orlo.ins. 



B. (\ <;:*>: SInibo, Anj^nslns 
A.D. 1 i:{7: AbnibjuH'l 



B. i\ 51: Tibnllns 

A. I). 1 1 1(1: r(M'n.*Aini, Colnnibns 



15. i\ :\: S(MUM*;i, (Jnlb;i 

A. 1). 1 11)7: MoI.MiK'dion, ll<»lboin 



)orn 
)orn 

)()i'n 
)oi'n 

)()rn 
)()i'n 



Tbo noxl lisl is of dnlos B. (\ jiinl A. D. 2000 vonrs 
npjirl: 



I 



15. (\ 77(; 

A. D.I 221 

B. O. 55(1 
A.D. 1411 



V'w^i :nil lioni ir (l;ilo. 
Njipb^s Hnivorsily fonndod, 

Porsijins concpnM'od M(h1os. 
linlllo of V.Mi'n.M. 



268 THE AKT OF MEMORY. 

B. C. 551 : Confucius born. 

A. D. 1449: Ghirlandajo born. 

B. C. 512: Phrynicus born. 

A. D. 1488: Kaimondi, Von Hutten born. 

B. C. 509 : Themistocles born. 

A. D. 1491: Loyola, Bucer, Folengo born. 

B. C. 454 : Athens subdued ^Egina. 

A. D. 1546 : Smalkaldic War began. 

B. C. 404: Fall of Athens. 

A. D. 1596: Fall of Cadiz. 

B. C. 394: Lysippus, Alexis born. 

A. D. 1606: Kembrandt, Corneille, Gerhardt born. 

B. C. 361: Dinarchus, Eumenes, Lysimachus. . .born. 

A. D. 1639: Racine born. 

B. C. 343: First Samnite War. 

A. D. 1657: War, Denmark and Sweden. 

B. C. 342: Menander born. 

A. D. 1658: Peterborough born. 

B. C. 327: Second Samnite War. 

A. D. 1673: Battle of Khotin. 

B. C. 318: Pyrrhus born. 

A. D. 1682: Bottcher • born. 

B. C. 300. Antioch founded. 

A. D. 1700 : Battle of Narva. 

B. C. 299: Callimachus born. 

A. D. 1701: Graun, Boscovich, Hyder Ali. born. 

B. C. 247: Hannibal born. 

A. D. 1753: Roscoe, Carnot, Bewick, Stanhope, 

Vergniaud, Dugald Stewart born. 



HISTORICAL DATES. 269 

B. C. 225: Gauls invaded Rome. 

A. D. 1775: War of American Revolution. 

B. C. 205: ^milius born. 

A. D. 1795: Havelock, Carlyle, Howitt, Keats, 

Sir Rowland Hill born. 

B. C. 14G: Carthage destroyed. 

A. D. 1854: Crimean War. 

The next list consists of dates of three figures, the 
first being a factor of the last two, and the quotient 
being one of the nine numerals: 

B. C. 630: Erinna, Stesichorus born. 

B. C. 624: Gautama (Buddha) born. 

B. C. 612: Pisistratus born. 

B. C. 530 : Cleomenes born. 

B. C. 520: Cincinnatus, Aristides born. 

B. C. 510 : Cimon born. 

B. C. 436 : Isocrates born. 

B. C. 432: Lysander born. 

B. C. 420 : Isseus born. 

B. C. 412 : Diogenes born. 

B. C. 408: Timoleon born. 

B. C. 327 : Second Samnite War. 

B. C. 318. Pyrrhus born. 

B. C. 312: Appian Way built. 

B. C. 216: Battle of Cannae. 

B. C. 210: Polybius born. 

A. D. 210 : Longinus born. 

214: Grist mills invented. 

214: Marcus Aurelius Claudius born. 



270 THE AKT OF MEMORY. 

A. D. 306 : London rebuilt. 

324: Constantinople founded. 

412: Proelus born. 

436 : Childeric I born. 

530 : Fortunatus born. 

742 : Charlemagne born. 

756: Kingdom of Cordova founded. 

763 : Haroun al Raschid born. 

840: Hucbald born. 

The list here given consists of dates above 1000 A. D., 
the second figure being a factor of the last two, and 
the quotient being one of the nine numerals: 

A. D. 1204: Latin Kingdom founded. 

1206 : Pisano born. 

1212: Children's Crusade. 

1214 : Roger Bacon born. 

1216: Kublai, Khan born. 

1312: Orleans University founded. 

1315: Battle of Morgarten. 

1324: Wycliffe born. 

1412: Stenography invented. 

1420: Torquemada, John Wessel born. 

1436 : Ximenes born. 

1510: The Spaniards conquered Cuba. 

1515: Camera Obscura invented. 

1520 : "Field of Cloth of G old." 

1525: Battle of Pavia. 

1530: Diet of Augsburg. 



A. D. 1535 
1540: 
1612: 
1618: 
1624: 
1630: 
1636: 
1642: 
1714: 
1721: 

1728: 
1735 
1742; 
1749 



1756 
1763 
1816; 



1824 
1832: 

1840 

1848: 
1856 



HISTORICAL DATES. 271 

First English Bible printed. 

J. J. Scaliger, Brantome born. 

Butler, Leighton, Arnauld born. 

Thirty Years War began. 

Sobieski born. 

Barrow, Tillotson born. 

Harvard College founded. 

First public schools, U. S. 

Type-Avriter invented. 

Smollett, Akenside, Foote, Wm. Col- 
lins born. 

Goldsmith, Capt. Cook born. 

Stereotyping invented. 

Blticher born. 

Mirabeau, Goethe, Jenner, Fox, La- 
place, Alfieri, Cimarosa, Yogler, 
Tippoo Saib born. 

Seven Years War began. 

Kichter, Talma, Morland born. 

Gerstacker, Smiles, Charlotte Bron- 
te, Charlotte Cushman, Philip 
James Bailey born. 

Wilkie Collins, Alboni born. 

Bjornsen, Dore, Ferry, Edwin Ar- 
nold born. 

Stanley, Daudet, "Ouida'^ born. 

German Empire established. 

Treaty of Paris. 



272 THE ART OF MEMORY. 

In the following list the dates all contain four fig- 
ures, the number formed by the last two being a mul 
tiple of that formed by the first two. 

A. D. 1030: St. Bruno born. 

1040: Eashi born. 

1050: Peter the Hermit born. 

1060: Bouillon born. 

1070 : Ohampeaux born. 

1122: Concordat of Worms. 

1224 : Join ville born. 

1236: Moors conquered Cordova. 

1248: Cologne Cathedral commenced. 

1260 : Frauenlob born. 

1272: End of Crusades. 

1284: Battle of Meloria. 

1365: Vienna University founded. 

1378: Hardyng, Ghiberti born. 

1391: Playing cards invented. 

1428 : Warwick born. 

1442: Alfonso V. conquered Naples. 

1470 : Magellan born. 

1484 : Tyndale, Zwingli, J. S. Scaliger born. 

1498: Moretto born. 

1530: Diet of Augsburg. 

1545: Council of Trent. 

1560: Arminius, Crichton born. 

1575: Guide, Boehmen born. 

1590: Microscope invented. 

1632: Battle of Ltitzen. 



HISTORICAL DATES. 278 

A. D. 1648: "Kump'' Parliament. 

1664 : Queen Anne born. 

1680 : Cavalier, Astorga born. 

1696: Marshal Saxe born. 

1734: Romney, Mesmer born. 

1751: Eldon, Sheridan, Voss born. 

1768: Chateaubriand born. 

1785: Wilkie, Napier, Grimm, Christopher 

North born. 

1836: T. B. Aldrich, Parepa-Rosa, Almeda- 

Tameda born. 

1854: Crimean War. 

1872: Great Boston Fire. 

Each of the following dates consist of four figures, 
the first two being a multiple of the last. 

1402: Dunois .born. 

1602: Mazarin born. 

1802 : Hugo born. 

1503: Wyatt born. 

1803 : Dumas born. 

1604: Eliot born. 

1005 : Lanf ranc born. 

1505 : Knox born. 

1206 : Pisano born. 

1806 : Kossuth born. 

1608: Milton born. 

1809 : Tennyson born. 



18 



274 THE ART OF MEMORY. 

Camillus was born in 446 B. 0. Reverse the figures 
and we have 644 B. C, the year of Thales' birth. 
The following list consists of similar examples: 

B. 0. 219 : Pacuvius born. 

912: Lycurgus born. 

116 : Varro born. 

611 : Anaximander born. 

406 : Speusippus born. 

604 : Lao-tsze born. 

265 : Nsevius born. 

562 : Anacreon born. 

155: Marius born. 

551 : Confucius born. 

694 : Sardanapalus born. 

496 : Hellanicus , . . . . born. 

384: Aristotle, Demosthenes born. 

483 : Ion born. 

234 : Cato (Major) born. 

432 : Lysander born. 

453 : Cleon born. 

354 : Cassander born. 

95 : Lucretius, Cato born. 

59 : Livy • born. 

A. D. 51 : Domitian born. 

15 : Vitellius born. 

32: Otho, Nerva born. 

23: Pliny the Elder born. 

42: Britannicus • born. 

24 : Burrus (Afranius) born. 



HISTORICAL DATES. 275 

A. D. 43: Martialis born. 

34: Perseus = born. 

96 : Arrian born. 

69 : Pol jcarp , born. 

521: St. Columba born. 

125 : Apuleius born. 

412: Proclus born. 

214: Claudius (M. Aurelius) born. 

912: Otto the Great .born. 

219 : PMliscus born. 

483 : Justinian the Great born. 

384 : Honorius born. 

1211: Ibn Khallikan born. 

1121 : Frederick Barbarossa born. 

1831: Sardou, Joachim, Tietjens born. 

1381: Chartier born. 

1541 : Charron born. 

1451 : Vespucci born. 

1741 : Layater born. 

1471 : Wolsey, Dtirer born. 

1841 : Joaquin Miller born. 

1481 : Peruzzi born. 

1651 : Fenelon, Otway born. 

1561 : Bacon born. 

1751: Eldon, Sheridan, Yoss born. 

1571 : Kepler born. 

In the first of the following lists the numerals 1, 2, 
3, 4, are given in consecutive order for the first date, 
then the first figure is omitted in the second date, and 



276 



THE ART OF MEMORY. 



the next figure also, in the third date. In the second 
list the "3" is placed next after the "1" and the same 
figure left off the next dates, as before. In the third 
list the "4" is placed after the "V and the first and 
second figures are omitted from the next dates as 
before. 

A. D. 1234: Lully born. 

234: Porphyrins born. 

34: Perseus born. 

1324: Wycliffe born. 

324: Constantinople founded. 
24: Burrus (Afranius) born. 

1423: Louis XI born. 

423 : Eicimer born. 

23: Pliny the Elder born. 

Among the curious features of chronology not al- 
ready indicated, may be mentioned the following: 

It is a singular fact that of the distinguished men 
of the sixteenth century, the following were born just 
a decade apart: 



A. D. 1544: 
1554: 
1564: 

1574 
1584 
1594 



Tasso born. 

Hooker, Sir Philip Sidney born. 

Shakespeare, Galileo, Marlowe, Bux- 

torf born. 

Marston, Ben Jonson born. 

Selden, Massinger, Duchesne, Pym..born. 
Poussin, Hampden, Saint- Amant, 

Gustavus Adolphus born. 



HISTORICAL DATES. 277 

Each interval of ten years from 1749 to 1819 is also 
especially noted for births of noted persons — 1769 and 
1809 being among the most remarkable years in this 
respect in all history. This list is as follows: 

A. D. 1749: Mirabeau, Goethe, Jenner, Fox, Lap- 
lace, Alfieri, Cimarosa, Vogler, 
Tippoo Saib born, 

1759: Porson, Wilberforce, Pitt, Kobes- 

pierre, Danton, Schiller, Burns. . .born. 

1769: Napoleon, Wellington, Soult, Ney, 
Humboldt, Cuvier, Brunei, Castle- 
reagh, Sir Thomas Lawrence, Me- 
hemet Ali, Bourrienne, Sir John 
Malcolm born» 

1779: Brougham, Oken, Allston, Oehlen- 

schlager,Berzelius, Thomas Moore born. 

1789 : Overbeck, Neander, Daguerre, J. Fen- 

imore Cooper, Horace Vernet born. 

1799: Balzac, Poushkin, Dollinger, Vigny, 
Halevy, Finlay, Choate, Rothe, 
Tholuck born. 

1809: Mendelssohn, Tennyson, Chopin, Lin- 
coln, Holmes, Poe, Darwin, Glad- 
stone, Proudhon, Ricasoli, Maccul- 
lagh. Park Benjamin, Elizabeth 
Barrett Browning born. 

1819: Ruskin, LoAvell, Kingsley, George 
Eliot, Abt, Howe, Offenbach, 
Queen Victoria born. 



278 THE ART OP MEMORY. 

In all the years of the world's history prior to the 
nineteenth century, no single year has brought into life 
more men destined to be distinguished in after time 
than the year 1632 — 100 years prior to that in which 
occurred the birth of Washington. In 1632 no less 
than twelve noted men were born — which record has 
not been eclipsed in any year of even the eighteenth 
century, so prolific of great men; and it is perhaps 
doubtful if the same statement will not apply to the 
nineteenth century also. 

It is a remarkable fact in chronology that in not a 
single case, from the dawn of history until the begin- 
ning of the fifteenth century, has a man whom the 
world recognizes as great, been born in the first year 
of any century — which cannot be said of any other year 
in any century. 

Another curious fact is that during the twenty- 
seven years prior to 15 B. C. not one distinguished 
individual was born — while in the twenty-seven years 
previous to the period just mentioned no less than thir- 
teen characters of history first saw life, viz.: Tiberius 
(B. C. 12), Ovid (B. C. 43), Propertius (B. C. 50), Tibullus 
(B. C. 54), Livy (B. C. 59), Agrippa (B. C. 62), Strabo, 
Augustus (B. C. 63), Horace (B. C. 65), Gallus, Cleopatra 
(B. C. 69), Yirgil, Maecenas (B. 0. 70). 

Another period prolific of great men's births is from 
A. D. 32 to 55, when were born no less than sixteen dis- 
tinguished men — generally at intervals of two years, 
viz.: Otho, Nerva, Perseus, Quintilian, Josephus, 



HISTORICAL DATES. 279 

Agricola, Liican, Titus, Martialis, Statius, Juvenal, 
Epictetus, Domitian, Plutarch, Trajan, and Tacitus. 

Passing on 1,000 years we find that in the eight 
years ending in 1060 were born more men than during 
the same period in all previous time — and it is a curious 
fact that not for three and a half centuries afterward 
was this record equaled. 

And still another period of like significance was 
during the dozen years ending in 1594, during which 
interval more distinguished men were born than dur- 
ing any period of the same length of time in the hun- 
dred years following, as well as throughout all pre- 
vious history — which is a remarkable circumstance. 
Within this narrow compass of years were brought 
forth nearly a score and a half of renowned persons — 
among them being Luther, Raphael, Scaliger, Salma- 
sins, Eabelais, Latimer, Coverdale, Sai'to, Paracelsus, 
Correggio, Loyola, Raimondi, Duchesne, Pym, Barne- 
veldt, Hobbes, Tyndale, Gassendi, Hampden, Gustavus 
Adolphus, and Hans Sachs. 

During the twenty-three years ending in 1501 not a 
3^ear elapsed in which did not occur the birth of some 
distinguished man. This record was not equaled in all 
previous history, nor for more than two centuries after 
1501. 

Of all the noted men of history Seneca and Galba 
were born the nearest to the beginning of the Christian 
era — one year after the birth of Christ, or 3 B. C. (Christ 
is now found to have been born in 4 B. C), the next 
nearest being Claudius Tiberius (10 B. C), and the next 



280 THE ART OF MEMORY. 

Vespasian, who was born in 9 A. D. (There are 9 let- 
ters in the latter's name.) The interval between the 
date of Vespasian's birth and that of Alexander the 
Great (356 B. C.) corresponds with the number of days 
in a year. The same interva.l also exists between the 
date of Thucydides' birth (471 B. C.) and that of Pom- 
pey and Cicero (106 B. C.) — also between that of Xen- 
ophon (430 B. C.) and Horace (65 B. C). 

The number of days in a year corresponds with the 
year A. D. in which the Koman poet Claudianus was 
born. Double this number and we have 730, in which 
year was born Alcuin, the great English ecclesiastic. 
Add another 365 and we have 1095, the first year of the 
Crusades. To this add still another 365 and the result 
is 1460, which is the year of birth of the English scholar 
and poet, Skelton. Add to this yet one more 365 and 
we have 1825, in which year the distinguished scientist 
Huxley was born. 

To the number of weeks in a year prefix a "1" and 
annex a cipher, and we have the year in which was born 
Goujon, the most distinguished French sculptor of Ihe 
sixteenth century. Add to this date the number of 
weeks in a year and we have 1572, in which year was 
born the noted Dutch diplomatist Aarssens. Another 
52 years brings us to 1624, when the great Polish king 
Sobieski was born. Fifty-two years more and we have 
the year when the great English Prime Minister, Sir 
Eobert Walpole, first saw life (1676). Advancing an- 
other 52 years brings us to 1728, the year of Gold- 
smith's birth. The same period added again and we 



HISTORICAL DATES. 281 

have 1780 — in which year were born Beranger, the na- 
tional song writer of France, and Audubon, the dis- 
tinguished American ornithologist. Yet one more 52 
years brings us to the year when the celebrated French 
painter Gustave Dore was born (1832), which was just 
a century after the year of Washington's birth. 

Sulla's birth occurred in 138 B. C; that of Alexan- 
der the Great in 356 B. C. Hannibal was born just 
half way between those dates, or 247 B. C. Reverse 
tihe figures in the last date and we have the year of 
Charlemagne's bir-th — 742. The intervals between the 
births of Caesar, the great Hunnish conqueror Attila, 
and the distinguished Roman emperor Otto the Great, 
are the same (B. C. 100, A. D. 406, and 912). Belisarius, 
the Byzantine conqueror, Saladin, the great Moslem 
general, and Napoleon, were born at equal intervals 
apart (505, 1137, and 1769). The same may be said of 
Clovis and Charlemagne, the renowned French kings, 
and the great Danish ruler Hardicanute, who were 
born, respectively, in 466, 742 and 1018. The interval 
between the year of birth of Sallust, the distinguished 
Roman historian, and Clovis, is the same as that be- 
tween the latter's and Hardicanute's (Sallust having 
been bom in 86 B. C), as is also the interval between 
the date of Sallust's birth and that of Solon, the noted 
Athenian law-giver, the date of the latter's birth being 
638 B. G. Mohammed, William the Conqueror, and 
Luther, were born in 571, 1027 and 1483 respectively, 
the interval in each case being 456, the figures forming 
that number being in ascending order. The celebrated 



282 THE ART OF MEMORY. 

Greek philosopher Epicurus was born in 341 B. C, be- 
tween which date and that of Mohammed's birth the 
same period elapsed as between Mohammed's and Lu- 
ther's. 

Magna Charta was signed in 1215: Queen Victoria 
was born in 1819. The Keformation occurred half way 
between those periods, in 1517. The U. S. Declaration 
of Independence was in 1776, the battle of Waterloo in 
1815, and the Crimean War in 1854. It will be noticed 
that the interval between the second-mentioned event 
and each of the others is the same — 39 years. The last 
battle of the American Revolution (Yorktown) was 
fought in 1781, the second war with England ended in 
1814, and the war with Mexico in 1847. The interval 
is the same in each case — 33 years. Add a cipher to 
the number of weeks in a year and we have the date of 
Cincinnatus' birth (520 B. C), which is 1000 years be- 
fore that of Narses, 1500 years before Avicenna's, and 
2000 years before that of Sir Thomas More (1408). 
Subtract the number of weeks in a year from the date 
of Cincinnatus' birth and we have the year in which 
Socrates was born (468 B. C). These figures are even 
and equal intervals apart. Theophrastus, the successor 
of Aristotle, was born 100 years later; and Marcellus, 
the distinguished Roman warrior and consul, a hun- 
dred years later still — which latter was 2000 years 
before the birth of Washington (1732). One year be- 
fore the latter date occurred the birth of Cowper, a 
century earlier was born Dryden, and two centviries 
earlier still, Joan of Arc was burned at the stake (1431). 



HISTORICAL DATES. 283 

St. Benedict was born in 481 (1000 years after Cra- 
tinus), and Nestor half way between St. Benedict and 
Dryden — 1056. 

By the date of Washington's birth may that of the 
battle of Llitzen be recalled, which was fought 100 
years before — the conquest of Peru by Pizarro, which 
happened 200 years before (1532) — also the celebrated 
battle of Tours, which occurred 1000 years before (732). 
Ten years after the battle of Tours Charlemagne was 
born, and 1000 years later, Blticher (1742). 

What a curious train of events is the following: 
• In 1616 Shakespeare and Cervantes died; two years 
later w^as the beginning of the Thirty Years War; 
two years later still, occurred the landing of the May- 
flower; in two years more Moliere was born, Sobieski 
two years later, Madame Sevigne in another two years, 
Bunyan two years later; in the next two years, Bar- 
row, and Locke two years later (1632) — which was just 
a century before the birth of Washington. 

If we wish to Ivuow the date of Shakespeare's birth 
we have only to subtract from the date of his death 
(1616) a number corresponding to the number of weeks 
in a year. In the date first given (1616), it will be 
noticed that the last two figures are a repetition of 
the first two. The square root of 16 is 4; thus the 
figure 4 may be used as the basis for recollecting the 
above train of events. 

As we have just seen, the number 16 repeated 
(1616) indicates the year of Shakespeare's death. If 
we take the next higher number repeated (1717) and 



284 THE ART OF MEMORY. 

add to it a number equal to the number of weeks in 
a year, it will give the year of Napoleon's birth (1769) 
— it being a curious coincidence that in the same year 
were also born his two great field marshals, Soult and 
Ney, and also his great rival, Wellington. If we add 
still another 52 to the above number (or add to 1769 
the difference between the "17" and the "69"), we have 
the year of Napoleon's death — -Shakespeare and Na- 
poleon having each lived to the age of 52 years. 
Napoleon was born 6 years before the American Kevo- 
lution, and died 6 years after the battle of Waterloo 
— in 1821. Subtract from this last date a number 
corresponding to the number of days in a year, and 
the remainder is 1456 — the last three figures of which 
are in ascending order. 14 is also one-fourth of 56. 
If we take the "4" and place it after the "6," we have 
the year of Shakespeare's birth (1564). 

The three highest numerals, in ascending order, 
preceded by the lowest numeral, indicate the date of 
the French Revolution (1789). That event occurred 
just a century before the Brazilian Revolution — the 
turbulent character of the former contrasting with 
the peaceful nature of the latter. Byron's birth hap- 
pened in the year before the f'rench Revolution. Pope 
was born a century earlier, which, in turn, was a cen- 
tury after the destruction of the "Invincible" Armada 
(1588). 

The cube of 4 is 64. In that year Nero burned 
Rome. 1500 j^ears later occurred the birth of Shake- 
speare. 



HISTORICAL DATES. 285 

The cube of 5 is 125. In that year the great Latin 
romance writer Apuleius was born. Nicole, the great 
French scholar, was born 1500 years later. 

The cube of 6 is 216. In that year the Parthian 
king Artabanus invaded Syria. Garrick and Gray 
were born 1500 years afterward. 

The cube of 10 is 1000. In that year was born 
Ferdinand the Great. 

The cube of 11 is 1331. Cannon were first used at 
that time. 

The cube of 12 is 1728. In that year Goldsmith and 
Captain Cook were born. There are 1728 cubic inches 
in a cubic foot. 

In 31 B. C. occurred the great naval battle ,of 
Actium. The square of 31 is 961. In 961 B. C. Ho- 
mer's "Iliad" first appeared. 

Eome was founded in 753 B. C. Those figures are 
all odd and the intervals between them equal. 

And now that virtitally all of the important events 
of history have been indicated, together with their 
corresponding dates, each date being associated either 
with one or more other dates, or with some peculiarity 
possessed by itself — a few words as to the practical 
way to memorize any desired date in history. 

In the first place, carefully associate the figures in 
a date with each other, by one of the methods indicated 
in Chapter 10, until the whole is clearly inscribed on 
the mental vision. Then look at the list of dates at 
the end of this chapter and turn to the page or pages 
referred to in said list, wherein the date to be memo- 



286 THE ART OF MEMORY. 

• 

rized is preserved by one or more forms of association, 
and if there be a choice, select such association as will 
be the most easily retained in the memory; if the 
event be associated in more than one way its security 
of retention is thereby increased, provided the asso- 
ciation be thorough in each case. If the date to be 
memorized, instead of being one which represents an 
event of historical importance, is related to simply an 
occurrence of personal experience, the best plan would 
be to associate it with some important or impressive 
event which happened in the same year whose date 
would be reasonably certain of preservation in the 
memory. Should no such event suggest itself at the 
time, the next best plan would be to link the occur- 
rence wdth some historical event which took place a 
century before. For the latter purpose a list of events 
of more or less importance which happened in each 
year from 1800 to 1822 is here given : 

A. D. 1800: Macaulay and Bancroft born* 

1801: Battle of Copenhagen. 

1802: Hugo and Dumas born. 

1803: Ewald and Emerson born. 

1804: Hawthorne and Sue born. 

1805: Battle of Trafalgar. 

1806: Kossuth and J. S. Mill born. 

1807: Longfellow and Whittier born. 

1808: Balfe and Malibran born. 

1809: Lincoln and Gladstone born. 

1810: Cavour and Renter born. 



HISTORICAL DATES. 287 

A. D. 1811: Thackeray and Liszt born. 

1812: Dickens and Browning born. 

1813: Wagner and Lepsius born. 

1814: Bismarck and Yerdi born. 

1815 : Battle of Waterloo. 

1816 : Charlotte Bronte born. 

1817 : Thoreau and Armitage born. 

1818: Gounod and Fronde born. 

1819 : Euskin and Lowell born. 

1820: Tyndall and Spencer born. 

1821: Buckle and Mariette born. 

1822: Gen. Grant born. 

In case it is desired to preserve in the memory 
the month and day on which an event occurred, it is 
suggested that the number of the month be first mem- 
orized, then the day, and that the two be associated 
together, by rules given in Chapter 10. If the day is 
on or near any familiar date — such as a birthday or 
a holiday — it becomes all the easier to recollect; or 
if it is either the first or last day of a month, or some 
day representing a number divisible by 5, or a prime 
number, the memory is thereby materially assisted. 

The fact is, that Association, if properly applied, is 
fully as effective an aid in memorizing dates, as facts, 
events, or ideas — for the element of the mathematical 
relation of figures to each other is introduced, as also 
other features of comparison and contrast that can- 
not be used in other forms of association, and they 
fully equal whatever points of excellence the latter 



288 THE ART OF MEMORY. 

may possess. The practice of associating the figures 
in a date with each other, and the whole with other 
dates, will so train the eye that many a date may ulti- 
mately become so vividly impressed on the visual mem- 
ory at first sight that it will never escape, but become 
a permanent possession. 

As proficiency in this department of memory cul- 
ture increases, the forming of associations between 
dates becomes more and more an unconscious effort 
of the mind, and a date is memorized not only far 
more easily, but far more surely than before — thus 
demonstrating that in this as in other departments of 
memory culture the power of the unconscious memory 
may be inc'reased to a wonderful degree; and when so 
developed its possessor will in after years find himself 
recompensed many fold for all the time and effort be- 
stowed on its cultivation. 



INDEX TO CHAPTER XL 



HISTORICAL CHAEACTEES. 



[All dates are A. D., except where otherwise indicated.] 

Name. Year of Birth. Page. 

Aarssens 1572 234, 248, 280 

Abauzit 1679 240, 254 

Abelard 1079 252 

Abernethy 1764 239 

Abdallatif 1162 254 

Abrabanel 1437 233, 267 

Abti 1819 216 

Abulf aragius 1226 • 247, 255 

Abulf eda 1273 255 

Acciajuoli , 1428 233 

Accorso 1182 254 

Acidalius 1567 234 

Acilius B. C. 227 223 

Acosta 1539 225, 236, 264 

Adamnan 625 260 

Addison 1672 261 

Adelaar 1622 260 

^Emilius B. C. 205 219, 229, 269 

^Eschines B. C. 389 219 

^Eschylus B. C. 525 208, 214, 228 

^Esop B. C. 620 226, 227, 229 

^tius 399 221,266 

Agassiz 1807 210, 242 

Agatharcides B. C. 151 214, 266 

Agathias 536 250, 260 

Ageladas B. C. 544 222, 227 

Agesilaus B. C. 481 221 

Agricola 37 263 

Agrippa B.C. 62 231 

Ainsworth 1560 234 

Akbar 1542 236 

Akenside 1721 243, 271 

Alabaster 1567 234 

19 (i) 



11 INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

Alaric 376 265 

Alasco 1499 248 

Albani 1578 226, 247 

Albategni 852 232 

Alberoni 1664 239 

Albert! 1404 232 

Albertus Magnus 1193 246 

Alboni 1824 256,271 

Albumazar 805 262 

Albuquerque 1453 224 

Alcseus B. C. 620 226, 227, 229 

Alcibiades B. C. 450 228, 229 

Alcman B. C. 695 222 

Alcuin 730 249,261,280 

Aldhelm 656 215,261 

Aldrich 1836 ^ 256, 273 

Aldrovandi 1522 225 

Alexander B. C. 356 228, 280, 281 

Alexis B. C. 394 268 

Alfleri 1749 255, 271 

Alf ord 1810 242 

Alfred the Great 849 266 

Algazali 1059 252 

Ali Pasha 1741 245 

Allegri 1580 247 

Alleyn 1566 217 

Allori 1577 234, 248 

Allston ■. 1779 240 

Al-Mamun 786 262 

Almansor 939 232 

Almeda-Tameda 1836 256, 273 

Almqvist 1793 241 

Alp-Arslan , 1029 252 

Alphonsus 1396 259 

Alpini 1553 236 

Alva 1508 248 

Alvarez 1768 239 

Amadeus the Great 1249 255 

Ambrose (St.) 340 258 

Amontons 1663 239 

Ampere 1775 262 

Amyot 1513 235 

Amyraut 1596 264 

Anacreon B. C. 562 231, 274 

Anaxagoras B.C. 500 213 

Anaximander B. C. 611 266, 274 

Anaximenes B. C. 606 214, 226, 231 

Andersen (Hans C.) 1805 262 

Andocides B.C. 466 221 

Andrea 1275 232 

Andronicus 1111 215 

Angelo 1475 208, 259 

Anglesey , . . . 1768 239 

Anne (Queen) 1664 239, 273 



INDEX TO CHAPTER XI. Ill 

Name. Year of Birth. Page. 

Anselm 1033 252 

Anson 1697 237 

Anthony (St.) 252 220 

Antioehus the Great B.C. 237 266 

Antiphon B.C. 480 221,230 

Antisthenes B. C. 425 208, 228 

Antoinette (Marie) 1755 238 

Antoninus 121 209,214,219,257 

Antony B. C. 83 231 

Antony the Monk 252 220 

Apelles B. C. 332 228 

Apollinaris. Sidonius 430 221 

Apollodorus 60 257 

Apollonius B. C. 249 229 

Apuleius 125 231, 285 

Aquila 1466 217 

Aquinas 1227 246 

Arago 1786 262 

Aratus B. C. 271 230 

Arbuthnot 1667 239 

Arcesilaus B. C. 316 220, 230 

Archimedes B. C. 287 220, 229 

Areson 1484 234 

Argensola 1565 218,234 

Ariosto 1474 234 

Aristides B. C. 520 225, 227, 228, 269 

Aristophranes B. C. 448 224 

Aristotle B. C. 384 207, 220, 228, 274 

Arius 256 264 

Arkwright 1732 237 

Arminius 1560 234, 272 

Armitage 1817 217, 243 

Arnaud 1641 235, 236, 271 

Arnauld 1612 235, 271 

Arndt 1555 225 

Arne 1704 237,241 

Arnold (Edwin) 1832 256, 271 

Arnold (Matthew) 1822 263 

Arnott 1788 255 

A rrian 96 264, 275 

Artedi 1705 237 

Ascham 1515 216, 235 

Ashburton 1774 239 

Asinius Pollio B, C. 76 218, 230 

Asmai 740 261 

Asselyn 1610 235 

Ast '. 1778 239 

Astorga 1680 254, 261, 273 

Astruc 1684 240 

Athanasius 297 264 

Athenagoras 140 219 

Atheilstane 895 208, 251 

Atterbom 1790 256 

Atterbury 1662 254 



IV INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

Atticus .B.C. 109 267 

Attila 406 221, 259, 281 

Auber 1784 240 

Audubon 1780 ■ 227, 281 

Augereau 17o7 238 

Augustine (St.) 354 220, 258 

Augustus ; B. C. 63 267 

Ausonius 310 219 

Austen (Jane) 1775 262 

Aventinus 1466 217 

Averrhoes 1126 253 

Avicenna 980 249, 251, 282 

Azeglio 1798 241 

Baader 1765 218, 264 

Baber 1483 209, 234 

Bach 1685 240 

Bacon (Francis) 1561 264, 275 

Bacon (Roger) 1214 258, 270 

Baggesen 1765 218, 264 

Bagration 1765 218, 264 

Bailey (PhiUp James) 1816 243, 271 

Baillie (Joanna) 1762 248 

Bajazet 1347 ' 232, 258 

Baker 1821 243 

Baldi 1533 233, 252 

Baldovinetti 1422 224 

Bales 1547 264 

Balf e 1808 263 

Ballanche 1776 262 

Balzac 1799 262 

Bancroft 1800 213 

Banim 1798 241 

Baratynski 1792 241 

Barbarossa (Frederick) 1121 257, 275 

Barbour . 1316 232,258 

Barclay 1648 238 

Barneveldt 1586 236 

Baronius 1538 236 

Barri 1147 253 

Barrow 1630 236, 271, 283 

Barthelemy 1716 217, 243 

Barthez 1734 244 

Bartholinus 1585 235 

Bartolus 1314 258 

Basil the Great 330 246, 265 

Bastiat 1801 241 

Batuta (Ibn) 1304 232 

Baur 1792 241 

Baxter 1615 217, 235 

Bayard 1475 259 

Bayle 1647 253 

Beattie 1735 244 

Beaton 1494 251 



INDEX TO CHAPTER XI. 



Name. Year of Birth. 

Beaumarchais 1732 

Beaumont 1585 

Beceaf umi 1488 

Becket 1118 

Bede, The Venerable 672 

Beecher 1813 

Beethoven 1770 

Belisarius 505 

Bellarmine 1542 

Belhni 1802 

Bellman 1740 

Benedict (St.) 481 

Benedict (Sir Julius) 1804 

Beneke 1798 

Bengel 1687 

Benjamin 1809 

Bentham 1748 

Bentley 1662 

Beranger 1780 

Berengarius 998 

Berkeley 1685 

Berlioz 1803 

Bernadotte 1764 

Bernard (St.) 1091 

Bernardin (St.) 1380 

Bernhardt, Sarah 1850 

Berni 1490 

Berosus B. C. 304 

Berzelius 1779 

Bessarion 1635 

Betterton 1395 

Bewick 1753 

Beza 1519 

Bichat . 1771 

Bierstadt 1828 

Bishop 1786 

Bismarck 1814 

Bjornsen 1832 

Blackstone 1723 

Blaine 1830 

Blake (Robert) 1598 

Blake (WiHiam) 1757 

Blucher 1742 

Blumenbach 1752 

Boccaccio 1313 

Boccherini 1740 

Bochart 1599 

Bodin 1530 

Boece 1465 

Boeckh 1785 

Boehmen 1575 

Boerhaave 1668 

Boetius 475 



Page. 
237 
2.35 
225 
209, 253 
261 
242 
255 
215, 260, 266, 281 
236 
262 

237, 261 
221, 283 

241 
241 
240 
242 
238 
254 
227, 281 
252 
240 
241 
239 
253 
247 
245 
251 
220 
240 

236, 253 
251 

238, 268 
225 
262 
244 
262 
242 

256, 271 

237, 243 
244 
253 
238 

245. 261, 271, 283 

261 

216, 258 

237, 261 

253 

236, 260 

234 

240 

252, 260, 272 

239 

259 



VI INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

Bohaddin 1145 246 

Boiardo 1434 259 

Boieldieu 1775 - 262 

Boileau 1636 237 

Bolingbroke 1678 239 

Bolivar 1783 240 

Bologne 1524 236 

Bonaventura 1221 215, 249 

Bonheur, Rosa 1822 263 

Boniface (St.) 680 261 

Bonnet 1720 243 

Boone 1735 244 

Booth (Edwin) 1833 244 

Bopp 1791 240 

Borrow 1803 241 

Boscovich 1701 241, 268 

Bossuet 1627 236 

Boswell 1740 237, 261 

Bottcher 1682 210,254,268 

Botticelli 1447 232 

Bouflers 1644 226, 236 

Bouillon 1060 257, 272 

Bourignon 1616 216 

Boiirdaloue 1632 237 

Bourrienne 1769 248 

Bowles 1762 248 

Bowring 1792 241 

Boyle (Robert) 1627 236 

Boyle (Richard) 1566 217 

Bozzarris 1790 256 

Braham 1774 239 

Brahe 1546 233 

Brahms 1833 244 

Brainerd 1718 210,243 

Bramante 1444 233 

Brantome 1540 233,271 

Brasidas B.C. 456 228 

Bremer 1801 241 

Bretschneider 1776 262 

Bright 1811 242 

Britannicus 42 .218,274 

Broglie 1785 240 

Bronte, Charlotte 1816 243, 271 

Brougham 1779 240 

Brown, John 1800 213 

Browning (Robert) 1812 242 

Browning (Elizabeth Barrett) 1809 242 

Bruce 1274 258 

Brucker 1696 24i 

Brunei 1769 248 

Brunelleschi 1377 224 

Bruno 1548 264 

Bruno (St.) 1030 249, 272 



INDEX TO CHAPTER XI, VU 



Name. Year of Birth. 

Bryant (W. C.) 1794 

Bucer 1491 

Buchanan 1506 

Buckingham 1592 

Buckle 1821 

Buddha (Gautama) B.C. 624 

Buffler 1661 

BufCon 1707 

Bull, Ole 1810 

Bulwer ; 1805 

Bunsen 1791 

Bunyan 1628 

Burckhardt 1784 

Burdett 1770 

Biirger 1748 

Burke 1729 

Burnet 1643 

Burns 1759 

Burritt 1811 

Burrus (Afranius) 24 

Burton (Robert) 1576 

Burton (Sir Richard) 1821 

Butler (Samuel) 1612 

Butler (Bishop) 1692 

Buxtorf 1564 

Byron 1788 

Cabot 1476 

Ceedmon 622 

Caesalpinus 1519 

Csesar B. C. 100 

Cagliostro 1743 

Calderon 1600 

Calderwood 1575 

Calhoun 1782 

Callimachus B.C. 299 

Calvin 1509 

Camden 1551 

Camerarius 1500 

Camillus B. C. 446 

Camoens 1524 

Campanella 1568 

Campbell 1777 

Camuccini 1775 

Canning 1770 

Canova 1757 

Canute 995 

Capet 939 

Capgrave 1393 

Caracalla 188 

Cardan 1501 

Carey 1762 

Carlyle 1795 



Page. 




241 


259, 


268 




248 




235 




243 


265, 


269 




239 


210, 


242 




242 




262 




240 


226, 


283 




240 




255 




238 


237, 


244 




238 




238 




242 


274, 


276 




225 




243 


235 


271 




241 




247 


255, 


284 




247 




260 




225 


213 


281 




238 




213 


252 


260 




240 


229 


268 


235 


263 


215, 233 


264 




213 


228 


274 




236 




234 


215 


248 




262 




255 




238 


208 


222 


215 


232 




246 




219 




283 




248 




269 



Vlll . INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

Carlstadt 1480 251 

Carneades B. C. 213 219 

Carnot 1753 238, 268 

Carolan 1670 254 

Carpini 1180 254 

Carracci 1555 215, 225 

Casaubon 1559 252 

Cassander B. C. 354 220, 228, 274 

Cassianus 360 220 

Cassiodorus 468 221 

Castelnau 1520 225 

Castillejo 1494 251 

Castlereagh 1769 248 

Catherine (St.) 1347 232, 258 

Cato (Major) .B.C. 234 219,274 

Cato B.C. 95 274 

Cats 1577 234, 248 

Catullus B.C. 94 267 

Cavalier 1680 254, 261, 273 

Cavendish I73I 244, 255 

Cavour I810 • 242 

Caxton 1422 224 

Cellini I500 * 213 

Cervantes I547 . 264 

Chalmers 1780 227 

Champeaux 1070 252, 272 

Champollion 1790 256 

Channing 1780 227 

Chantrey 1781 240 

Chapman 1559 252 

Charlemagne 742 261, 270, 281, 283 

Charles V 1500 213 

Charron '. 1541 236, 275 

Chartier 1381 224, 275 

Chastelairu 1403 233 

Chateaubriand 1768 239, 273 

Chatham 1708 248 

Chatterton 1752 261 

Chaucer 1340 232, 249, 258 

Cherubini 1760 239 

Chesterfield 1694 241, 254 

Chiabrera . ,. 1552 234 

Chimeric 1 436 259,270 

Choate 1799 262 

Chopin 1809 242 

Christina 1626 253 

Chrysippus .• B. C. 280 223, 230 

Chrysoloras 1355 232 

Chrysostom '. 347 258 

Churchill 1731 244, 255 

Churchyard 1520 225 

Cibber 1671 236 

Cicero B. C. 106 219, 231, 280 

Cid 1034 25T 



INDEX TO CHAPTER XI. IX 

Name. Year of Birth. Page. 

Cimabue 1240 232 

Cimarosa 1749 255, 271 

Cimon B.C. 510 ' 231,266,269 

Cincinnatus B. C. 520 225, 227, 228, 269, 282 

Cino 1270 223, 255 

Clarendon 1608 226 

Clarke (Adam) 1762 248 

Clarke (Samuel) 1675 254 

Claude of Lorraine 1600 213 

Claudianus 365 258, 280 

Claudius (Tiberius) B. C. 10 231, 279 

Claudius (M. Aurelius) 214 258, 269, 275 

Clay 1777 215, 248 

Cleanthes B. C. 300 213 

Clemens (S. L.) 1835 244 

Clementi 1752 261 

Cleomenes B. C. 530 227, 269 

Cleon B.C. 453 224,265,274 

Cleopatra B. C. 69 218 

Clive 1725 261 

Clovis 466 221, 281 

Cobbett 1762 248 

Cobden 1804 241 

Coeur 1396 259 

Coke 1552 ' 234 

Colbert 1619 253 

Coleridge 1772 248 

Colet 1466 217 

Collins (Wm.) 1720 243 

Collins (Wilkie) 1824 256, 271 

Colonna 1490 ' 251 

Columba (St.) 521 260, 275 

Columbanus 550 222 

Columbus 1446 233,267 

Comines 1445 224 

Comte 1798 ' 241 

Conde 1621 235 

Condillac 1715 243 

Condcrcet 1743 238 

Confucius B. C. 551 227, 268, 274 

Congreve 1670 254 

Constantine 274 258 

Cook (Capt.) 1728 244,271,285 

Cooper 1789 240 

Copernicus 1473 225, 234 

Coppee 1842 245 

Corelli 1653 236,238 

Corneille 1606 226, 268 

Corot 1796 241 

Correggio 1494 251 

Cortez 1485 235 

Cousin 1792 241 

Coverdale 1488 225 

Cowley 1618 253 



INDEX TO CHAPTER XI. 



Name. Year of Birth. Page. 

Cowper 1731 244,255,282 

Crabbe 1754 248 

Cranach 1472 234 

Cranmer 1489 248 

Crashaw 1613 235 

Crassus' B.C. 140 219 

Cratinus B. C. 519 225, 283 

Crgbillon 1674 239 

Crichton 1560 234, 272 

Crcesus B. C. 590 227 

Croly 1785 240 

Cromwell 1599 253 

Cruden 1700 213 

Cruikshank 1792 241 

Cudworth 1617 216, 235 

Cujas 1520 225 

Cullen 1710 242 

Curran 1750 245 

Cusa 1401 233 

Cushman, Charlotte 1816 243, 271 

Cuvier 1769 248 

Cynewulf 725 261 

Cyprian 200 213 

Cyrus the Great B.C. 576 225 

Czerny 1791 240 

Dagobert 1 600 213 

Daguerre 1789 240 

D' Aguesseau 1668 239 

Dahlstjerna 1661 239 

D' Alembert 1717 216, 242 

Dalton 1766 217, 239 

Damascenus 695 222 

Damiani 990 249, 251, 266 

Dampier 1652 253 

Dante 1265 232, 258 

Danton 1759 238 

D' Anville 1697 237 

Darling, Grace 1815 243 

Darwin 1809 242 

D'Aubigne 1794 241 

Daudet 1840 271 

David 1748 238 

David (St.) 490 221 

Davy 1778 239 

De Beriot 1802 262 

De Candolle 1778 239 

Dee 1527 236 

De Foe 1661 215,239 

Dekker 1577 234, 248 

Delacroix 1798 241 

Delaroche 1797 264 

Delavigne 1793 241 

Demetrius Phalereus B. C. 346 228 



INDEX TO CHAPTER XI. XI 

Name. Year of Birth. Page. 

Demetrius Poliorcetes B. C. 335 228 

Democritus B. C. 460 228, 265, 266 

Demosthenes B. C. 384 207, 220, 228, 274 

Denham 1615 217, 235 

De Quincey .- 1785 240 

Descartes 1596 264 

Deschamps 1328 258 

Desmoulins 1760 239 

De Vigny 1797 264 

De Witt 1625 260 

Diamante 1400 213 

Dickens 1812 210, 242 

Diderot 1713 242 

Didymus 314 258 

Dillen 1687 240 

Dinarchus B. C. 361 268 

Diocletian 245 220, 232 

Diogenes B. C. 412 221, 228, 230, 269 

Dion B.C. 408 228 

Dionysius B.C. 430 221,229 

D'Israeli 1804 * 241 

Dobell 1824 256 

Doddridge 1702 237 

Dolomieu 1750 245 

Domenichino 1581 234 

Dominic (St.) 1170 254 

Domitian 51 264, 274 

Donatello 1386 251 

Donizetti 1798 241 

Donne 1573 234 

Dore 1832 256, 271, 281 

Doria 1466 217 

Douglas 1474 234 

Draco B. C. 650 229 

Drake 1545 ■ 264 

Drummond 1585 235 

Dryden 1631 247, 282 

Dubos 1670 254 

Ducange 1610 235 

Duchesne 1584 234 

Dudevant (Mme.) 1804 241 

Dugueschin 1314 258 

Dumas 1802 262, 273 

Dumouriez 1739 244 

Dunbar 1460 234 

Dunois 1402 224, 273 

Duns Scotus 1265 232,258 

Dunstan 925 232 

Duquesne 1610 235 

Durandus 1237 255 

Durante 1684 240 

Durer 1471 251,275 

Dyce 1806 263 

Dyer 1699 248 



Xll INDEX TO CHAPTER XI. 

Name. Tear of Birth. Page. 

Eastlake 1793 241 

Eberhard 1445 224 

Eccard 1553 236 

Eccelino 1194 254 

Eck 1486 247 

Edgeworth, Maria 1767 239 

Edison 1847 245 

Edmund (St.) 1189 250 

Edrisi 1099 253 

Edward the Confessor 1004 " 252 

Edwards 1703 241 

Egbert 775 208, 262 

Eginhard 771 262 

Egmont 1522 225 

Eldon 1751 238, 273, 275 

Eleanor of Aquitaine 1122 249 

Elias Levita 1472 234 

Eliot (John) 1604 226,237,273 

Eliot (George) 1819 216 

EUzabeth (Queen) 1533 233, 252 

Elmacin 1223 246 

Elphinstone 1431 247 

Emerson 1803 ^ 241 

Emmanuel the Great • 1469 233 

Empedocles B. C. 490 221, 227 

Encina 1468 234 

Encke 1791 240 

Ennius B. C. 238 229, 230 

Epaminondas B. C. 422 221, 224 

Epieharmus B. C. 540 227 

Epietetus 48. 264 

Epicurus B. C. 341 220, 228, 282 

Epimenides B.C. 628 226 

Epiphanius (St.) 304 220 

Episcopius 1582 226 

Erasmus 1467 234 

Erastus 1524 236 

Eratosthenes B. C. 276 223, 230, 267 

Eric the Red 945 246 

Erigena 802 262 

Erinna B. C. 630 227, 229, 269 

Ernesti 1707 242 

Ernst 1814 242 

Ersch 1766 217, 239 

Erskine 1750 245 

Esarhaddon B, C. 705 227 

Espinel 1551 233,264 

Estienme 1503 233 

Etty 1787 240 

Euclid B. C. 323 214 

Eudoxus B. C. 399 221, 229 

Eugene of Savoy 1663 239 

Euler 1707 242 

Eumenes B. C. 361 268 

Eupolis B. C. 445 224, 230 



INDEX TO CHAPTER XI. Xlll 



Name. Year of Birth. 

Euripides B. C. 480 

Eu'sebius 265 

Evagrius 536 

Evans, Marian 1819 

Evelyn 1620 

Everett 1794 

Ewald 1803 

Faber, Cecilia 1797 

Fabius B. C. 270 

Fabricius 1668 

Fahrenheit 1086 

Fairfax 1611 

Fairhair, Harold 850 

Falconer 1732 

Faraday 1791 

Farinelli 1705 

i arnese 1546 

Farquhar 1678 

Fauriel 1772 

Fenelon 1651 

Ferdinand the Great 1000 

Ferid-Eddin-Athar 1119 

Ferishta 1570 

Ferrar 1593 

Ferrari *. 1484 

Ferry 1832 

Fichte 1762 

Ficino 1433 

Fielding 1707 

Fiesole 1387 

Filelf o , 1398 

Filicaja 1642 

Finlay 1799 

Firdousi 941 

Fischart 1546 

Flacius 1520 

Flamininus B. C. 228 

Flaxman 1755 

Flechier 1632 

Fleming 1609 

Fletcher 1579 

Fleury 1640 

Fliedner 1800 

Flotow 1812 

Folengo 1491 

Fontenelle 1657 

Foote 1721 

Ford 1586 

Forrest 1806 

Fortunatus 530 

Poscari 1372 

Foster 1770 

Fouchg 1763 

Fouque 1777 



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XIV INDEX TO CHAPTER XI. 

Name. Year of Btrth. Page. 

Foui'ier 1772 248 

Fox 1749 255, 271 

Foxe 1517 235, 252 

Francis (St.) .' 1182 254, 266 

Franklin (Benjamin) 1706 248 

Franklin (Sir John) 1786 262 

Frauenlob 1260 232,272 

Frederick the Great 1712 242 

Freret 1688 236 

Frisi 1728 244 

Frobisher 1535 236 

Froebel 1782 240 

Froissart 1337 256 

Froude 1818 216, 243 

Fuller 1608 226 

Fulton 1765 218, 264 

Fuseli 1741 245 

Fux 1661 239 

Gainsborough 1727 244 

Galba B.C. 3 267,279 

Galen 130 246 

Galileo 1564 247 

Gallatin 1761 239 

Gallus B. C. 69 218 

Galvani 1737 255 

Gama 1460 234 

Gardiner 1483 234 

Garibaldi 1807 242 

Garrick 1716 217, 243, 285 

Garrison 1804 241 

Gascoigne 1535 236 

Gassendi 1592 235 

Gauss 1777 215, 248 

Gautama (Buddha) B. C. 624 265, 269 

Gautier 1811 242 

Gay 1688 236 

Gay-Lussac 1778 239 

Geddes 1737 255 

Geijer 1783 240 

Geminiani 1666 215,239 

Genevieve (St.) 422 221 

Genseric 406 221, 259 

Gentili 1552 234 

Geoffrey of Monmouth 1100 213 

Gerard of Cremona 1114 250 

Gerhardt 1606 226, 268 

Germanlcus B. C. 15 218 

Gerson 1363 246 

Gersonides 1288 - 255 

Gerstacker 1816 243, 271 

Gervaise 1152 253 

Gervinus 1805 262 

Gesenius 1786 262 

Gesner 1516 - 260 



INDEX TO CHAPTER XI. XV 

Name. Year of Birth. Page. 

Geulincx 1625 260 

Ghiberti 1378 247, 272 

Ghirlandajo 1449 268 

Giannone 1676 247 

Gibbon 1737 255 

Gibbons 1583 234, 260 

Gibson 1790 256 

Gieseler 1792 241 

Gilbert, Wm 1540 233 

Gildas 516 260 

Gillray 1757 238 

Gioberti 1801 241 

Giorgione 1477 234 

Giotto 1276 223 

Giraldi 1479 225 

Gladstone 1809 242 

Glendower 1354 258 

Glinka 1804 241 

Gluck 1714 242 

Godwin 1756 264 

Godwine 994 251 

Goethe 1749 255, 271 

Goldoni 1707 242 

Goldsmith 1728 244,271,280,285 

Gonzalo 1453 224 

Gottschalk 1829 244 

Goudimel 1510 235 

Goujon 1520 225, 280 

Gounod 1818 ' 216, 243 

Gower 1325 247, 249 

Goya 1746 238 

Gozzoli 1420 224 

Gracchus B.C. 188 219 

Graevius 1632 237 

Grant, Gen 1822 263 

Granvella 1517 252 

Grattan 1746 238 

Graun 1701 241, 268 

Gray, Thomas 1716 217, 243, 285 

Greeley 1811 242 

Gregory of Tours 544 222 

Gresset 1709 242 

Gretry 1741 245 

Grillparzer 1791 240 

Grimm 1785 240, 273 

Gringoire 1480 251 

Grisi 1812 242 

Groot 1340 232,249,258 

Grosseteste 1175 254 

Grote 1794 , 241 

Grotefend 1775 262 

Grotius 1583 234, 260 

Guarini 1537 233, 263 

Guercino 1592 235 



XVI INDEX TO CHAPTER XI. 

Name. Tear of Birth. Page. 

Guibert 1053 257 

Guicciardini 1483 234 

<3uido 1575 252, 260, 272 

Guizot 1787 240 

Gustavus Adolphus 1594 253 

Gutenberg 1400 213 

Haco , 920 251 

Hadrian 76 218 

Hafiz 1300 213 

Hahnemann 1755 238 

Hakluyt 1553 » 236 

Hale 1609 235 

Halevy 1799 262 

Hall, Robert 1764 239 

Hallam 1778 239 

Haller 1708 248 

Halley 1656 261 

Hamilton (Alexander) 1757 238 

Hamilton (Sir William) 1788 255 

Hampden 1594 253 

Handel 1685 240 

Hannibal B.C. 247 268,281 

Hardicanute 1018 209, 252, 281 

Hardwicke 1691 240, 254 

Hardyng 1378 247, 272 

Hariri 1054 252 

Harold Fairhair 850 246 

Harold II 1022 246 

Haroun al Raschid 763 262, 266, 270 

Harte, Bret 1839 244 

Hartley 1705 237 

Harvey 1578 226, 247 

Hastings 1732 237 

Havelock 1795 269 

Hawthorne 1804 241 

Ilaydn 1732 237 

Hazlitt 1778 239 

Hecatoeus " B. C. 550 222 

Heem 1604 226, 237 

Hegel 1770 255 

Heine 1797 213, 264 

Hellanicus B.C. 498 225,228,274 

Helps 1813 242 

Helvetius 1715 243 

Hemans, Felicia 1793 241 

Hennepin 1640 ' 237 

Henryson 1425 233 

Heraclides B. C. 381 224 

Heraciitus B. C. 535 214, 227 

Heraclius 575 208,215,260 

Herbart 1776 262 

Herder . . 1744 245 

Hermippus B. C. 245 220, 230 



INDEX TO CHAPTER XI. XVU 

Name. Year of Birth. Page. 

Herodotus . B. C. 484 207, 214, 228 

Herrick loOl 253 

Hersehel . 1738 244 

Hesiod B. C. 892 222 

Heyne 1729 237, 244 

Hilary 287 220 

Hilda (Pt.) 614 230 

Hildebert 1055 257 

Hildegard 1098 2.53 

Hill, Sir Rowland 1795 2G9 

Hincmar 806 263, 266 

Hipparchus B.C. 552 2.30 

Hippocrates E. C. 460 228, 265, 266 

Hobbema 1638 226, 236 

Hobbes 1588 236 

Hof er 1767 239 

Hogarth 1697 2.37 

Hog!? 1772 248 

Holbein 1497 225, 267 

Holberg 1684 240 

Holmes 1809 242 

Homer B. C. 995 222, 230 

Honorius 384 220, 275 

Hooch 1632 237 

Hood 1798 241 

Hoof t 1581 234 

Hook 1788 255 

Hooker 1.554 248, 252 

Horace B.C. 65 230,266,280 

Hortensius B. C. 114 229 

Hosius 256 264 

Hotman 1524 236 

Howard 1726 243,255 

Howe 1819 216 

Howitt 1795 269 

Hrabanus 776 262 

Hrosvitha 935 251, 266 

Hucbald 840 270 

Huet 1630 236 

Hugh (St.) 1135 253 

Hugo 1802 262, 273 

Humboldt 1769 248 

Hume 1711 242, 2.55 

Hummel 1778 239 

Hunt, Leigh 1784 240 

Hunter 1728 244 

Huss 1369 209, 233 

Hutcheson 1694 241, 254 

Hutten (Von) 1488 225, 268 

Hutton 1737 255 

Huxley 1825 263, 280 

Huyghens 1629 237 

Hwen T'sang 605 260 

Hyde 1636 237 

20 



XVm INDEX TO CHAPTER XI. 

Name. Year of Birth. 

Hyder Ali 1701 

Hypatia . . . ' 350 

Hyperides '. B. C. 396 

Ibn Batuta 1304 

Ibn Khaldoun 1332 

Ibn Khallikan 1211 

Ibsen 1828 

Ibycus ' B. C. 583 

Ignatius (St.) 799 

Ingres 1780 

Ion B. C. 483 

Irenaeus 131 

Irene 752 

Irving' - 1783 

Isaeus B. C. 420 

Isidorus 570 

Isocrates B. C. 436 

Jacobi 1743 

Jamblichus 282 

Jansen 1585 

Jay 1745 

Jefferson 1743 

Jeffrey 1773 

Jenghiz Khan 1163 

Jenner 1749 

Jerome (St.) 341 

Jerome of Prague 1365 

Jerrold 1803 

Joachim 1831 

Johnson 1709 

Joinville 1224 

Jomes, Sir Wm 1746 

Jonson 1574 

Josephus 37 

Jovius 1483 

Julian o 331 

Justin 106 

Justinian the Great 483 

Juvenal 47 

Kane 1820 

Kant 1724 

Karamzin 1765 

Kaulbach 1805 

Kaunitz 1711 

Kean 1787 

Keats 1795 

Keble 1792 

Kemble (John) , 175? 

Kemble (Chas.) 1775 

Kempis 1380 

Ken 1637 

Kepler 1571 



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INDEX TO CHAPTER XI. XIX 

Name. Year of Birth Page. 

Keppel 1725 261 

Key 1776 262 

Khaldoun (Ibn) 1332 229, 256 

Khallikan (Ibn) 1211 216, 255, 275 

Kingsley, Chas 1819 216 

Kirchoff 1826 243 

Kisf aludy 1788 2.55 

Kleber 1754 248 

Kneller 1648 238 

Knowles 1784 240 

Knox 1505 252, 260, 273 

Kock (Paul de) 1794 241 

Kolcsey 1790 256 

Kosciusco 1746 238 

Kossuth 1806 263, 273 

Kriloff 1768 239 

Kublai Khan 1216 232,270 

Laberius B. C. 105 229 

La Bruyere 1645 238 

Lacaille 1713 242 

La Fayette 1757 238 

La Fontaine 1621 235 

Lagrange 1736 237 

Lalande 1732 . 237 

Lamarck 1744 245 

Lamartine 1790 256 

Lamb 1775 262 

Lamennais 1782 240 

La Motte 1777 215,248 

Landor 1775 262 

Landseer 1802 262 

Lanfranc 1005 252, 273 

Langland 1331 258 

Lao-tsze B. C. 604 226, 274 

Laplace 1749 255, 271 

Lardner 1684 240 

Largilliere 1656 261 

Las Casas 1474 234 

Lassen 1800 213 

Latimer 1490 251 

Lavater 1741 245, 275 

Lavoisier 1743 238 

Law 1686 236 

Lawrence 1769 248 

Le Brun 1619 253 

Lecky 1838 244 

Lee, Robert E. 1806 263 

Leeuwenhoek 1632 237 

Legendre 1752 261 

Leibnitz 1646 238 

Leicester 1529 252 

Leighton 1612 235, 271 

Lemonnier 1715 242 



XX INDEX TO CHAPTER XI. 

Name. Year of Birth Page. 

Leonardo da Vinci 1452 234 

Leopardi 179S 241 

Leopold the Great 1640 237 

Lepsius 1813 242 

Le Sage 1668 239 

Lessing 1729 237, 244 

Lever 1806 263 

Leverrier 1811 242 

Leyden (Van) 1494 251 

Libanlus 316 220, 258 

Lieber 1800 213 

Liebig 1803 241 

Liguori 1696 241 

Lilye 1466 217 

Linacre 1460 234 

Lincoln 1809 242 

"Lind," Jenny 1820 210,243 

Lindsay 1490 251 

Linneeus 1707 210, 242 

Lipsiuis 1547 264 

Liszt 1811 242 

Littleton 1407 246 

littrg 1801 241 

Liverpool 1770 255 

Livingstone 1813 242 

Livius Andronicus B. C. 283 223 

Livy B. C. 59 274 

Locke 1632 237, 283 

Lockhart 1794 241 

Longfellow 1807 242 

Longinus 210 219, 269 

Lope de Vega 1562 248 

Lorraine 1600 213 

Lotze 1817 217, 243 

Louis XI 1423 246,259,276 

Lover 1797 264 

Lowell 1819 216 

Loyola 1491 259, 268 

Lucan 39 264 

Lucian 120 264 

Lucilius B. C. 149 229 

Lucretius B. C. 95 274 

Lucullus B.C. 105 229 

Luini ... 1465 234 

Lully 1234 276 

Luther 1483 209, 234, 281 

Luxembourg 1628 226 

Lycon E. C. 300 213 

Lycurgus B. C. 912 222, 230, 274 

Lydga.te 1375 232 

Lyell 1797 264 

Lyly 1554 236 

Lysander B. C. 432 228, 269, 274 

Lyslas B.C. 438 221.230 



INDEX TO CHAPTER XI. 



XXI 



Name. Year of Birth. Page. 

Lysimachus B.C. 3G1 268 

Lysippus B. C. 394 268 

Mabillon 1632 237 

Macaulay 1800 213 

Maccullagh 1809 242 

Machiavelli 14C9 233 

Mackintosh 1765 218,264 

Macleod 1812 242 

Macready 1793 241 

Mtecenas B. C. 70 229 

Magellan 1470 234, 272 

Magliabechi 1633 237 

Magnusson 1663 239 

Mahmood 971 251 

Maimbourg 1620 226, 264 

Maimonides 11.35 253 

Maistre 1754 248 

Maitland 1,525 233, 247 

MakrizI 1.364 247 

Malachy (St.) , 1094 253 

Malcolm 1769 248 

Malebranche 16.38 226, 236 

Malherbe 1.5.55 225 

Malibran 1808 263 

Malpighi 1628 226 

Malthus 1766 217, 2.39 

Manetho B. C. 290 223 

Manfred 1231 255 

Manley, Mary 1672 2G1 

Man.=jfield 1705 237,241 

Mantegna 1431 247 

Manutius ' 1450 247 

Ma.nzoni 1785 240 

Marat 1744 245 

Marcantonio 1482 233 

Marcellus B. C. 268 229 230, 282 

Marcian 390 259 

Mariana 1536 260 

Marietta 1821 243 

Marignolli 1282 258 

Mario 1810 242 

Marius B. C. 155 223, 265, 274 

Marivaux '. 1688 236 

Marlborough 1650 247 

Marlowe 1564 247 

Marot 1496 225 

Marryatt 1792 241 

Marston 1574 234 

Martel 689 250 

Martians 43 218, 275 

Martin (St.) 316 220, 258 

Martineau, Harriet 1802 262 

Martini 1706 248 



k 



XXU INDEX TO CHAPTER XL 

Name. Year of Birth. Page. 

Martino 1283 223 

Martyr 1500 213 

Marvell 1621 235 

Masaccio 1402 224 

MasiRissa B. C. 238 229 

Massena 1758 2G2 

Massinger 1584 234 

Mas' tidy 886 251 

Mather 1663 239 

Matsys 1466 217 

Maupertuis 1697 237 

Maurice 1521 235, 249, 260 

Mazarin (Cardinal) 1602 237,260,273 

Mazzini 1805 262 

Medici 1448 224 

Mehemet Ali 1769 248 

Meissonier 1812 242 

Melancthon 1497 225, 267 

Menage 1613 235 

Menander B. C. 342 268 

Mencius B, C. 372 224 

Mendelssohn 1809 242 

Mercadante 1797 264 

Mercator 1512 235 

Merimee 1803 241 

Mesmer 1734 244, 273 

Metastasio 1698 241 

Methodius 825 232 

Metsu 1630 236 

Metternich 1773 255 

Meyerbeer 1794 241 

Mezzofanti 1774 239 

Michaelis ". 1717 216,243 

Michelet 1798 241 

Michelozzi 1391 251, 267 

Mickiewicz 1798 241 

Middleton 1683 240 

Mill, John Stuart 1806 263 

Miller (Hugh) 1802 262 

Miller (Joaquin) 1841 245, 275 

Millet 1814 242 

Milton 1608 ^ 226, 273 

Mirabeau 1749 ' 255, 271 

Mirkhond 1433 233 

Mitford 1744 245 

Mithridates B. C. 121 214, 219 

Mohammed 571 208,260,281 

Moliere 1622 200,283 

Molina 1535 236 

Moltke (Von) , 1800 213 

Monge 1746 238 

Monk 1608 226 

Montaigne 1533 233, 252 

Montecuculi 1608 226 



INDEX TO CHAPTER XI. XXlll 

Name. Year of Birth. Page. 

Montesquieu 1689 240, 248 

Monteverde 1568 234 

Montezuma 1 1390 2.59 

Montgolfier 1740 237, 261 

Montrose 1613 2.35 

Moody 18.37 2.56 

Moore (Sir John) 1761 2.39 

Moore (Thomas) 1779 240 

More (Sir Thomas) 1480 251, 282 

More (Hannah) 1745 238 

Moretto 1498 238, 2.52, 272 

Morland 1763 239, 262, 271 

Moroni 1510 235 

Moscheles 1794 241 

Mosheim 1694 241, 2.54 

Motley 1814 242 

Mozart 17.56 264 

Muller (Karl) 1797 264 

Miiller (Max) 1823 243 

Munkacsy 1844 245 

Muratori 1672 261 

Murchison 1792 241 

Murillo 1618 253 

Murray, Lindley 1745 238 

Musset 1810 242 

Muziano 1528 233 

Nadir Shah 1688 2.36 

Nsevius B. C. 265 220, 230, 274 

Nairne, Caroline 1766 217,239 

Napier (Sir Charles) 1782 240 

TSTapier (Sir William) 1785 240, 273 

Napoleon ' 1769 248, 281, 284 

Narses 480 221, 282 

Nasir Khosran ' 1004 2.52 

Neander 1789 240 

Necker 17.32 237 

Nelson 17.58 262 

Neri 1515 216, 2.35 

Nero 37 263 

Nerva 32 274 

Nestor 1056 283 

Newton 1642 236 

Ney 1769 248 

Nicephorus 758 262 

Nicole 1625 249, 260, 285 

Niebuhr 1776 262 

Nightingale, Florence 1820 243 

Nizanii 1141 246 

North 1785 240, 273 

Northcote 1818 216,243 

Norton, Caroline 1808 263 

Novalis 1772 248 



XXIV INDEX TO CHAPTER XL 

Name. Year of Birth. Page. 

O'Connell 1775 262" 

Odoacer 434 214, 259^ 

Odoric 1286 247 

Oehlenschlager 1779 240 

Oersted 1777 215, 248 

Offenbach 1819 216 

Oken 1779 2^0 

Olivarez 1587 247 

Omar 1 583 260 

Omar Khayyam 1017 252 

Opie 1761 239 

Orcagna 1316 258 

Ordericus Vitalis 1075 252 

Origen 185 219, 257 

Ormonde 1610 235 

Otho 32 274 

Otto the Great 912 222, 275, 281 

Otway 1651 238, 275 

'•'Ouida" 1840 271 

Overbeck 1789 240 

Ovid B. C. 43 218 

Owen ' 1616 216 

Pacuvius B. C. 219 • 219, 274 

Paganini 1784 240 

Paine 1736 255 

Palestrina 1524 236 

Paley 1743 238 

Palissy 1510 235 

Palladio 1518 252 

Palmerston 1784 240 

Paracelsus 1493 235 

Parepa-Rosa 1836 256, 273 

Park, Mungo 1771 262 

Parker, Theodore 1810 242 

Parmenides B. C. 539 225 

Parmigiano 1504 252 

Parr 1747 245 

Parrhasius B.C. 440 227 

Parry 1790 256 

Parton 1822 263 

Pascal 1623 237 

Pasteur 1822 263 

'Patrick (St.) 306 259 

Paulus B. C. 229 280 

Pausanias B. C. 508 227, 228 

Payne 1792 241 

Peale 1778 239 

Peel 1788 255 

Penn 1644 226, 236 

Pepys 1632 237 

Pergolesi 1710 242 

Pericles B. C 497 225 

Perrault 1628 226 



INDEX TO CHAPTER XT. XXV 

Name. Year of Birth. Page. 

Perseus 34 257, 275, 27G 

Perugini 1446 233, 2<J7 

Peruzzi 1481 234, 275 

Pestalozzi 174G 238 

Peterborough 1G58 2(58 

Peter the Hermit 1050 246, 272 

Peter the Great 1672 261 

Petrarch 1304 232 

Phalereus B. C. 346 228 

Pherecydes B.C. 600 213 

Phidias « B. C. 488 225 

Philemon B. C. 359 220 

Philiscus 219 219, 275 

Phihstus B. C. 441 228 

Phillips, Wendell 1811 242 

Philo B. C. 14 229 

Philolaus B. C. 480 221 

Philopoemen B.C. 252 214,220,229 

Philostratus 170 229, 265 

Philoxenus B. C. 435 228 

Phocion B. C. 402 224 

Photius 822 246, 249. 263 

Phrynicus B.C. 512 228,268 

Piccolomini 1599 253 

Pichegru 1761 239 

Pindar B. C. 522 225 

Pippi 1492 235 

Piranesi 1711 242, 255 

Piron 1689 240,248 

Pisano 1206 246, 270, 273 

Pisistratus B. C. 605 227, 269 

Pitcairne 1652 253 

Pitman 1813 242 

Pitt 1759 238 

Pittacus B. C. 651 227 

Pius, Antoninus 86 219 

Pizarro 1471 251 

Plato ..B.C. 429 230 

Plattner 1800 " 213 

Plautus B. C. 270 223 

Pliny the Elder 23 274, 276 

Pliny the Younger 61 264 

Plotinus 205 219 

Pluckner 1801 24J. 

Plutarch 50 218 

Pocock 1604 226,237 

Poe 1809 242 

Poggio 1380 247 

Poisson 1781 240 

Politian 1454 259 

Pollio B. C. 76 218, 230 

Polo 1254 2.')8 

Polybius B. C. 210 219, 229, 269 

Polycarp 69 218,275 



XXVI INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

Pompey B. C. 106 219, 231, 280 

Pontanus 1426 247 

Pope 1688 236, 284 

Porphyrius 234 219,276 

Person 1759 238 

Poushkin 1799 262 

Poussin 1594 253 

Powers, Hiram 1805 262 

Praed 1802 262 

Praxiteles B. C 387 229 

Prescott 1796 241 

Priestley 1733 237, 244 

Prior 1664 239 

Proclus 412 221, 270, 275 

Procopius 487 * 259 

Prodicus B. C. 460 225 

Propertius B. C 50 218 

Protagoras B. C. 479 ' 225 

Protogenes B. C. 360 220, 228 

Proudhon 1809 242 

Prynne 1600 213 

Puffendorf 1632 237 

Pym 1584 234 

Pyrrhus B. C. 318 266, 268, 269 

Pythagoras B. C. 582 226 

Quin 1693 241 

Quintilian 36 " 250 

Rabelais 1490 251 

Racine 1639 236, 268 

Raff 1822 263 

Raimondi 1488 225, 268 

Raleigh 1552 234 

Ramsay 1686 236 

Raphael 1483 209, 234 

Raschid, Haroun al 763 262,266,270 

Rashi 1040 249, 257, 266, 272 

Ravenna > 1512 235 

Read, T. Buchanan 1822 263 

Reade 1814 242 

Reaumur 1683 240 

Reeves, Sims 1821 243 

Regnard 1656 261 

Regnier 1573 234 

Reid 1710 242 

Rembrandt 1606 226, 268 

Remigius 438 221 

Remusat 1797 264 

Renan 1823 243 

Rennell 1742 245, 261 

Reuchlin 1455 232 

Reuter 1810 242 

Reynolds 1723 237, 243 



INDEX TO CHAPTER XI. XXVU 

Name. Year of Birth. Page. 

Ricardo 1772 248 

Ricasoli 1809 242 

Ricci 1552 234 

Richard Coeur de Lion 1157 254 

RicheUeu 1585 235 

Richter 1768 289, 262, 271 

Ricimer , 423 259, 276 

Rienzi 1313 216, 258 

Ristori 1821 243 

Robespierre 1758 262 

Robusti 1518 252 

Rochefoucauld 1613 235 

Rogers 1762 248. 

Rohan 1579 ■ 252 

Roland (Madame) 1754 248 

Rollin 1661 215, 2.39 

Romanoff 1597 237 

Romney 1734 244, 273 

Rooke 1650 247 

Roscoe 1753 238, 268 

Rossetti 1828 • 244 

Rossini 1792 241 

Rothe 1799 262 

Rousard 1524 236 

Rousseau 1712 241 

Rubens 1577 209, 234, 248 

Rubinstein 1829 244 

Ruckert 1788 2.55 

Rudagi 891 251 ' 

Rufinus 345 232,265 

Ruhnken 1723 237, 243 

Rumi 1207 246 

Rupert 1619 253 

Ruskin 1819 216 

Russell, Sir Charles 1833 244 

Ruysdael 1625 2G0 

Rymer 1641 236 

St. Ambrose 340 258 

St. Anthony 252 220 

St. Augustine 354 220, 2.58 

St. Benedict 481 221, 283 

St. Bernard 1091 2.53 

St. Boniface 680 261 

St. Bruno 1030 249, 272 

St. Catherine 1347 232, 258 

St. Columba 521 260, 275 

St. David 490 221 

St. Dominic 1170 254 

St. Edmund 1189 2.50 

St. Epiphanius 304 220 

St. Francis 1182 254, 266 

St. Genevieve 422 221 

St. Hilda 614 250 



XXVlll INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

St. Hugh 1135 253 

St. Ignatius 799 262 

St. Jerome 341 220 

St. Malachy 1094 253 

St. Martin 316 220, 258 

St. Patrick 396 220, 259 

St. Sebastian 254 258 

St. Simon 1760 239 

St. Theresa 1515 216, 235 

St. Vincent de Paul 1577 209,234,248 

Saadia 892 221 

Sachs 1494 251 

Sacy 1758 262 

Sa'di 1185 257 

Saint-Amand 1594 253 

Sainte Beuve 1804 • 241 

Sala 1828 ' 244 

Saladin 1137 208, 253, 281 

Sallust B. C. 86 219, 281 

Salmasius 1588 236 

Salvator Rosa 1615 217, 235 

SanS'i 1053 257 

"Sand," George 1804 241 

Sandeau 1811 242 

Sappho B. C. 608 226, 227, 229 

Sardanapalus B.C. 694 266,274 

Sardou 1831 244, 275 

Sarpi 1552 - 234 

Sarto 1487 259 

Savage 1698 241 

Savonarola 1452 234 

Saxe (Marshal) 1696 241, 273 

Saxo Grammaticus 1155 223 

Scaliger, J. S 1484 234, 272 

Scaliger, J. J 1540 233, 271 

Scarlatti, A 1659 238 

Scarlatti, D.. 1083 240 

Schiller 1759 238 

Schilling 1775 262 

Schlegel, W 1767 239 

Schlegel, F 1778 255 

Schleiermacher 1768 239 

Schliemann 1822 263 

Schopenhauer 1788 255 

Schubert • 1797 264 

Schumann 1810 242 

Schwarz 1726 243, 255 

Schwenkfeld 1490 251 

Scipio B. C. 185 219 

Scot 1191 254 

Scott 1771 215,262 

Sebastian (St.) 254 258 

Selden 1584 234 

Semler 1725 261 



INDEX TO CHAPTER XI. XXIX 

Name. Year of Birth. Page. 

Seneca B. C. 3 267, 279 

Servetus 1511 235 

Severus 146 246 

Sevigne (Mme.) 1626 253,283 

Shaftesbury 1621 235 

Shakespeare 1564 247, 283 

Shelley 1792 210, 241 

Shenstone 1714 242 

Sheridan 1751 238, 273, 275 

Siddons (Mrs.) 1755 238 

Sidney 1554 24S, 252 

Sigismond the Great 1467 234 

Signorelli 1440 2b3 

Silius Italicus 25 231 

Simon 1638 226, 236 

Simon (St.) 1760 239 

Simonides B. C. 555 225 

Sisenna B. C. 131 214, 219 

Sismondi 1773 255 

Skelton 1460 234,280 

Sleidanus 1506 " 248 

Sloane 1660 239 

Smiles 1816 243, 271 

Smith, Adam 1723 237, 243 

Smith, Sydney 1771 1^15, 262 

ismollett 1721 243,271 

Snorro Sturluson 1179 -54 

Sobieiski 1624 236, 237, 271, 280, 283 

Socinus 1539 225, 236, 264 

Socrates B. C 468 221, 228, 230, 282 

Sodoma 1479 225 

Solario 1382 233 

Solon B. C. 638 226,231, 281 

Sontag 1806 263 

Sophocles B. C. 495 230, 266 

Soult 1769 248 

South 1633 237 

Southey 1774 239 

Spallanzani 1729 237, 244 

Speke 1827 244 

Spencer, Herbert 1820 243 

Spener 1635 236, 253 

Spenser 1552 234 

Speusippus B.C. 406 221, 274 

Spinola 1569 248 

Spinoza 1632 237 

Spohr 1784 240 

Spurgeo<n 1834 244 

Stael (Madame de) 1766 217, 239 

Stahl 1660 239 

Stanhope 1753 238, 268 

Stanley, Dean 1815 243 

Stanley, H. M 1840 271 

Statius 45 264 



XXX INDEX TO CHAPTER XI. 

Name. Year of Birth. Page. 

Stedman 1833 244 

Steele 1672 261 

Steffani 1655 238 

Steiner 1796 241 

Stephenson 1781 239 

Sterne 1713 242 

Stesichorus B. C. 630 229, 227, 269 

Stevinus 1548 264 

Stewart (Dugald) 1753 238, 268 

Stilicho 359 220 

Stirling 1806 263 

Stowe (Mrs.) 1814 242 

Strabo B. C. 63 267. 

Stradivarius 1700 213 

Stuart 1720 243 

Suarez 1548 264 

Sue 1804 241 

Sulla B. C. 138 229, 231, 281 

Sullivan, Sir Arthur 1844 245 

Summer 1811 242 

Surrey 1517 235, 252 

Suwaroff 1730 244, 261 

Swedenborg 1688 236 

Swift 1667 239 

Swinburne 1837 256 

Sydenham 1624 . 236, 237 

Sylburg ,1536 260 

Tabari 839 232 

Tacitus 55 214, 257 

Talleyrand 1754 248 

Tallis 1515 216, 235 

Talma 176S 239, 262, 271 

Tamerlane 1336 209, 2-56 

Tannahill 1774 239 

Tasso 1544 233, 236 

Tassoni 1565 218, 234 

Tauler 1290 223, 249, 256 

Taylor (Jeremy) 1613 235 

Taylor (Bayard) 1825 263 

Tennyson 1809 242, 273 

Terence B. C. 185 219 

Terpander B. C. 700 213 

Tertullian 160 257 

Thackeray 1811 242 

Thalberg 1812 242 

Thales B. C. 644 227, 274 

Themistocles B.C. 509 268 

Theocritus B. C. 310 220, 229 

Theodore (Archbishop) 602 260 

Theodoret 389 220 

Theodoric 454 215, 221, 2.59 

Theodosius the Great 346 246 

Theognis • B. C. 570 222, 231 



INDEX TO CHAPTER XI. XXXI 

Name. Tear of Birth. Page. 

Theophrastus B. C. 368 228, 229, 282 

Theopompus B. C. 377 224 

Theresa (St.) 1.515 210,235 

Theresa (Maria) 1717 21(5. 243 

Thibaut ] 774 239 

Thiers . 1797 264 

Thirlwall 1797 264 

Tholuck 1790 262 

Thomson 1700 213 

Thoreau 1817 217, 243 

Thorwaldsen 1770 255 

Thucydides B. C. 471 230, 280 

Tiberius B. C. 42 218 

Tibullus B. C. 54 267 

Tieck 1773 255 

Tifctjens 1831 244, 275 

Tillotson 1630 2.36, 271 

Tilly 1559 252 

Timaeus B. C. 352 229. 230 

Timoleon B. C. 408 228, 229, 269 

Timotheus B. C. 454 214, 221, 228 

Timour 1336 209, 256 

Tintoretto 1512 235 

Tippoo Saib 1749 255, 271 

Tischendorf 1815 243 

Titian 1477 209, 234 

Titus 40 257, 265 

Tocqueville 1805 262 

Tolstoi 1828 244 

Tooke 1736 237 

Torquemada 1420 224, 251, 270 

Torricelli 1608 226 

Tourguenieff 1818 210, 243 

Trajan 53 257 

Trebonianus 475 259 

Trevithick 1771 262 

Tribonian 491 259 

Tromp 1597 23T 

Tucker 1705 237 

Tullius B. C. 578 226 

Tupper 1810 242 

Turenne 1611 235 

Turgot 1727 244 

Turner . 1775 262 

"Twain," Mark 1835 244 

Tyndale 1484 234,272 

Tyndall 1820 243 

Udall 1505 260 

Uhland 1787 240 

Ulphilas 313 258 

Urquhart 1605 237, 260 

Ussher 1580 247 



XXXll INDEX TO CHAPTER XI. 

Name. Year of Birth. 

Valens 328 

Valerian 213 

"Valla 1406 

Vanbrugh 1666 

Vamdevelde 1633 

Van Dyck 1599 

Van Leyden 1494 

Varro B. C. 116 

Vasa 1496 

Vasari 1512 

Vattel 1714 

Velazquez 1599 

Verdi 1814 

Vergniaud 1753 

Vernet 1789 

Veronese 1528 

Verrocchio 1435 

Vespasian 9 

Vespucci 1451 

Vico 1668 

Victoria (Queen) 1819 

Vida 1489 

Vieuxtemps ' 1820 

Vigny 1799 

Villani 1275 

Villehardouin 1160 

Villon 1431 

Vijncent 1191 

Vincent de Paul (St.) 1576 

Virgil B. C. 70 

Vitellius 15 

Vogler 1749 

Voiture 1598 

Volta 1745 

Voltaire 1694 

Von Hutten 1488 

Von Moltke 1800 

Voragine 1228 

Voss - . 1751 

Wagner 1813 

Waitz 1813 

Walaf rid 808 

Wales (Prince of) 1841 

"Wallace 1270 

"Wallenstein 1583 

Waller 1605 

TValpole (Sir Robert) 1676 

W^alpole (Horace) 1718 

Walton 1593 

Warburton 1698 

Warwick 1428 

Washington 1732 

Watt 1736 



Page, 




258 




219 


246, 259, 


, 267 


215 


, 239 




237 




253 


- 


251 


230, 


, 274 




225 




235 




242 




253 




242 


238 


, 268 




240 




233 




251 


263 


, 280 


233 


, 275 




239 


216, 


, 282 




248 




243 




262 




232 


232, 


, 257 




247 




254 




225 


229, 


231 


218, 


274 


255, 


271 




253 




238 


241, 


254 




•268 




213 




223 


238, 273: 


275 




242 




242 




263 




244 


223, 


255 


234, 


260 


237, 


260 


247, 


280 


216, 


243 




235 




241 


233, 


272 


237, 282, 


283 




237 



INDEX TO CHAPTER XI. XXXlll 



Name. Year of Birth. 

Watts 1674 

Weber 1786 

W^ebster (Noah) 1758 

Webster (Daniel) 1782 

Wedgwood 1730 

Wellington 1769 

Werner 1750 

W^esley 1703 

Wessel 1420 

West 1738 

Whately 1787 

Whiston 1667 

Whitefield 1714 

Whittier 1807 

Wilberf orce 1759 

Wilkes 1727 

Wilkie 1785 

William, of Occam 1280 

William, Prince of Orange 1650 

William the Conqueror 1027 

William the Lion 1165 

William the Silent 1533 

Williams, Roger. .... , 1599 

Willis, N. P 1806 

Wilson, Alexander 1766 

W inckelmajm 1717 

Wolfe (Charles) 1791 

Wolfe (James) 1727 

Wollaston 1766 

Wolsey 1471 

Worcester 1784 

W^ordsworth 1770 

Wotton 1666 

Wren 1632 

Wyatt 1503 

Wycherley 1640 

T^ycliff e 1324 

Wyttenbach 1746 

Xavier ' 1506 

Xenocrates B.C. 396 

Xenophanes B. C. 620 

Xenophon B.C. 430 

Ximenes 1436 

Young (Edward) 1681 

Young (Thomas) 1773 

Zaleucus B. C. 780 

Zarlino 1517 

Zeno B. C. 350 

Zinzendorf 1700 

Zwingli 1484 

21 



Page. 




239 




262 




262 




240 


244, 


261 




248 




245 




241 


224, 251, 


270 




244 




240 




239 




242 




242 




238 




244 


240, 


273 


223, 


249 




247 


246 


281 


218 


232 


233, 


252 




253 




263 


217, 


239 


216, 


243 




240 




244 


217 


239 


251, 


275 




240 




255 


215, 


239 




237 


233, 


273 




237 


256, 270 


276 




238 




248 


220 


228 


226, 227 


229 


221 


280 


259, 


270 




240 




255 




227 




252 


220 


228 




213 


234 


272 



XXXIV 



INDEX TO CHAPTER XI. 



YEAE OF BIETH OF HISTOKICAL CHAEACTERS. 



B. C. Page. 

995 222, 230 

912 222, 230, 274 

892 222 

780 227 

705 227 

700 213 

695 222 

694 266, 274 

651 227 

650 .. i 229 

644 226, 227, 274 

638 226, 231, 281 

630 229, 227, 269 

628 226 

624 265, 269 

620 226, 227, 229 

612 269 

611 266, 274 

608 226, 227, 229 

606 214, 226, 231 

605 227 

604 226, 274 

600 213 

590 227 

583 231 

582 226 

578 226 

576 225 

570 222, 231 

562 , 231, 274 

555 ... ' 225 

552 230 

551 227, 268, 274 

550 222 

544 222, 227 

540 227 

536 227 

539 225 

535 214 

530 227, 269 

525 208, 214, 228 

522 225 

520 225, 227, 228, 269, 282 

519 225, 283 

512 228,268 



B. C. Page, 

510 231, 266, 269 

509 268 

508 227, 228 

500 213 

497 225 

496 225, 228, 274 

495 230, 266 

490 221, 227 

488 225 

484 207, 214, 228, 274 

481 221 

483 221 

480 221, 230 

479 225 

473 225 

471 230, 280 

468 221, 228, 230, 282 

466 221 

460 228, 265, 266 

456 228 

454 214, 221, 228 

453 224, 265, 274 

450 228, 229 

448 224 

446 228, 274 

445 224, 230 

441 228 

440 227 

438 221, 230 

436 227, 269 

435 228 

432 228, 269, 274 

430 221, 229, 280 

429 230 

425 208, 228 

422 221, 224 

420 224, 228, 229, 269 

412 .221, 228, 230, 269 

408 228, 229, 269 

406 221, 274 

402 224 

399 221, 229 

396 220, 228 

394 268 

389 220 



INDEX TO CHAPTER XI. 



XXXV 



B. O. Page. 

387 229 

884 207, 220, 228, 274 

381 224 

377 224 

372 224 

368 228, 229, 282 

361 268 

360 220, 228 

359 220 

356 228, 280, 281 

354 220, 228, 274 

352 229, 230 

350 220, 228 

346 228 

342 , 268 

341 220, 228, 282 

335 228 

332 228 

323 214 

318 266, 268, 269 

316 220, 230 

310 ' 220, 229 

304 220 

300 213 

299 229, 268 

290 223 

287 220, 229 

283 223 

280 223, 230 

276 223, 230, 267 

271 230 

270 223 

268 229, 230, 282 

265 220, 230, 274 

252 214, 220, 229 

249 229 

247 268, 281 

245 220, 230 

238 229, 230 

237 266 

234 219, 274 

229 230 

228 .223 

219 219, 274 

213 219 

210 219, 229, 269 

205 219, 229, 269 

188 219 

185 219 

170 229, 265 

155 223, 265, 274 

151 214, 266 

149 229 

140 219 



B, C. Page. 

138 , 229, 231, 281 

131 214, 219 

121 214, 219 

116 230, 274 

114 229 

109 267 

106 219, 231, 280 

105 229 

100 2ia 281 

95 '274 

94 267 

86 219, 281 

83 231 

76 218, 230 

70 229, 231 

69 218 

65 230, 266, 280 

63 267 

62 231 

59 274 

54 267 

50 218 

43 218 

42 218 

15 218 

14 229 

10 231, 279 

3 267, 279 

A. D. 

9 263, 280 

15 218, 274 

23 274, 276 

24 274, 276 

25 231 

32 274 

34 257, 275, 276 

36 250 

37 263 

89 264 

40 257, 265 

■ 42 218, 274 

48 218, 275 

45 264 

47 264. 265 

48 264 

50 218 

51 264, 274 

53 257 

55 214, 257 

60 257 

61 264 

69 218, 275 

76 218 

86 219 



XXXVl 



INDEX TO CHAPTER XI. 



A. D. Page. 

96 264, 275 

106 219 

120 264 

121 209, 214, 219, 257 

125 231, 275, 285 

l.-!0 246 

131 219 

140 219 

146 246 

160 257 

185 219, 257 

188 219 

200 213 

205 219 

210 219, 269 

213 219 

214 258, 269, 275 

219 219, 275 

234 219, 276 

245 220, 232 

252 220 

254 258 

256 264 

265 220, 258, 264 

274 258 

282 258 

287 220 

297 264 

304 220 

310 220 

313 258 

314 258 

316 220, 258 

328 258 

330 246, 265 

331 258 

340 258 

341 220 

345 232, 265 

346 246 

347 258 

350 220 

354 220, 258 

359 220 

360 220 

365 258, 280 

376 265 

384 220, 275 

389 220 

390 259 

396 220, 259 

399 221, 266 

406 221, 259, 281 

412 221, 270, 275 



A. D. Page. 

422 221 

423 259, 276 

430 221 

434 214, 259 

436 259, 270 

438 221 

454 215, 221, 259 

466 221, 281 

468 221 

475 259 

480 221, 282 

481 221, 283 

483 221, 275 

487 259 

490 221 

491 259 

505 215, 260, 266, 281 

510 260 

521 260, 275 

530 260, 270 

536 250, 260 

544 222 

550 222 

570 222 

571 208, 260, 281 

575 208, 215, 260 

583 260 

600 213 

602 260 

605 260 

614 250 

622 260 

025 260 

056 215, 261 

672 261 

680 261 

689 250 

695 222 

725 261 

730 249, 261, 280 

740 261 

742 261, 270, 281, 283 

752 232, 261 

758 262 

763 262, 266, 270 

771 262 

775 208, 262 

776 262 

786 262 

799 262 

802 262 

805 262 

806 268, 266 

808 , 263 



INDEX TO CHAPTER XI. 



XXXVll 



A. D. Page. 

822 246, 249. 263 

825 232, 263 

839 232 

840 263, 270 

849 266 

850 246 

852 232 

886 251 

891 251 

892 222 

895 208, 251 

932 222, 275, 281 

920 251 

925 232 

935 251, 266 

939 215, 232 

941 246 

945 246 

971 251 

980 249, 251, 282 

990 249, 251, 266 

994 251 

995 208, 222 

998 252 

1000 213, 285 

1004 252 

1005 252, 273 

1017 252 

1018 209, 252, 281 

1022 246 

1027 246, 281 

1029 252 

1030 249, 272 

1033 252 

1034 257 

1040 249, 257, 266, 272 

1050 246, 272 

1053 257 

1054 *. 252 

1055 257 

1056 283 

1059 252 

1060 257, 272 

1070 252, 272 

1075 252 

1079 252 

1091 253 

1094 253 

1098 253 

1099 253 

1100 213 

1111 215 

1114 250 

1118 209, 253 



A. D. Pag-e. 

1119 253 

1121 257, 275 

1122 249 

1126 253 

1135 253 

1137 208, 253, 281 

1141 246 

1145 246 

1147 253 

1152 253 

1155 223 

1157 254 

1160 232, 257 

1162 254 

1163 246 

1165 218, 232 

1170 254 

1175 254 

1179 254 

1180 254 

1182 254, 266 

1185 257 

1189 250 

1191 254 

1193 246 

1194 254 

1206 246, 270, 273 

1207 246 

1211 216, 255, 275 

1214 258, 270 

1216 232, 270 

1221 215, 249 

1223 246 

1224 267, 272 

1226 247, 255 

1227 246 

1228 223 

1231 255 

1234 276 

1237 255 

1240 232 

1249 255 

1254 258 

1260 229, 272 

1265 232, 258 

1270 223. 255 

1273 255 

1274 258 

1275 232 

1276 223 

1280 223, 249 

1282 258 

1283 223 

1286 247 



XXXVlll 



INDEX TO CHAPTER XI. 



A. D. Page. 

1288 . 255 

1290 223, 249, 256 

1300 213 

1304 232 

1313 216, 258 

3314 258 

1316 232, 258 

1324 256, 270, 276 

1325 .- 247, 249 

1328 258 

1331 258 

1332 256 

1S36 209, 256 

1337 256 

1340 232, 249, 258 

1347 232, 258 

1354 258 

1355 232 

1363 246 

1364 247 

1365 258 

1369 209, 233 

1372 224 

1375 232 

1377 224 

1378 247, 272 

1S80 247 

1381 224, 275 

1382 233 

1386 251 

1387 .' 247 

1390 259 

1391 251, 267 

1P.93 246 

1395 251 

1306 259 

1398 233 

1400 213 

1401 233 

1402 224, 273 

1403 233 

1404 232 

1406 246, 259, 207 

1407 240 

1420 224, 251, 270 

1422 224 

1423 246, 259, 276 

1425 233 

1426 247 

1428 233, 272 

1431 247 

1433 233 

1434 259 

1435 251 



A. D. Page. 

1436 259, 270 

1437 233, 267 

1440 233 

1 i^4 233 

1445 224 

1440 233, 267 

1447 232 

1448 224 

1449 268 

1450 247 

1451 ; . . . 233, 275 

1452 234 

1453 224 

1454 259 

1455 232 

1460 234, 280 

1465 234 

1466 217 

1467 234 

1468 234 

14^9 233 

1470 234, 272 

1471 251, 275 

1472 234 

1473 225, 234 

1474 234 

1475 208, 259 

1476 247 

1477 209, 234 

1479 225 

1480 251, 282 

1481 234, 275 

1482 233 

1483 234, 281 

1484 234, 272 

14S5 235 

1486 247 

1487 259 

1488 225, 268 

1489 248 

3490 251 

1491 259, 268 

1492 235 

1493 2.35 

1494 251 

1496 225 

1497 225, 267 

1498 233, 252, 272 

1499 248 

1500 213 

1501 233 

1503 238, 273 

3504 252 

1505 252, 273 



INDEX TO CHAPTER XI. 



XXXIX 



A. D. Page. 

1506 248 

1508 248 

1509 235, 263 

1510 235 

1511 235 

1512 235 

1518 235 

1515 216, 235 

1517 235, 252 

1518 252 

1519 225 

1520 225, 280 

1521 235, 249 

1522 225 

1524 236 

1525 233, 247 

1527 236 

1528 233 

1529 252 

1530 236 

1533 233, 252 

1535 236 

1537 233, 263 

1538 236 

1539 225, 236, 264 

1540 233, 271 

1541 236, 275 

1542 236 

1544 233, 236 

1545 264 

1546 233 

1547 264 

1548 264 

1551 215, 233, 264 

1552 234 

1553 236 

1554 248, 252 

1555 ^ 225 

1559 ' 252 

1560 234, 272 

1561 264, 275 

1562 248 

1564 247, 283 

1565 218, 234 

1566 217 

1567 234 

1508 234 

1569 248 

1570 234, 252 

1571 208, 236, 275 

1572 234, 248, 280 

1573 2.34 

1574 234 

1575 252, 272 



A. D. Page. 

1576 225 

1577 209, 234, 248 

1578 226, 247 

1579 252 

1580 247 

1581 234 

1582 226 

1583 234 

1584 234 

1585 235 

1586 236 

1587 247 

1588 236 

1591 253 

1592 235 

1593 235 

1594 253 

1596 264 

1597 237 

1598 253 

1599 253 

1600 213 

1602 237, 273 

1604 226, 237, 273 

1605 : 237 

1606 226, 268 

1608 226, 273 

1609 235 

1610 235 

1611 235 

1612 235, 271 

1613 235 

1615 217, 235 

1616 216 

1617 216, 235 

1618 253 

1619 253 

1620 226, 264 

1621 235 

1622 260, 283 

1623 237 

1624 236, 237, 271, 280, 283 

1625 249, 285 

1626 253. 283 

1627 236 

1628 226, 283 

1629 237 

1630 236, 271 

1631 247,282 

1632 237, 283 

1633 237 

1635 236, 253 

1636 237 

1637 253 



xl 



INDEX TO CHAPTER XI. 



A. D. Page. 

1638 226, 236 

1639 236, 268 

1640 237 

1641 236 

1642 236 

1643 238 

1644 226, 236 

1645 238 

1646 238 

1647 253 

1648 238 

1650 247 

1651 238, 275 

1652 253 

1653 236, 238 

1655 238 

1656 261 

1657 238, 254 

1658 :.. 268 

1659 238 

1660 239 

1661 215, 239 

1662 254 

1663 239 

1664 289, 273 

1666 215, 239 

1667 239 

1668 239 

1670 .^ . . . 254 

1671 236 

1672 261 

1674 239 

1675 254 

167(5 247, 280 

1678 239 

1679 240, 254 

1680 254, 261, 273 

1681 240 

1682 240, 254, 268 

1683 240 

3684 ... 240 

1685 240 

1686 236 

1697 237 

1688 236, 284 

1689 240, 248 

1691 240, 254 

1692 241 

1693 241 

1694 241. 254 

1696 241, 273 

1697 237 

1698 241 

1699 248 



A. U. Page. 

1700 213 

1701 241, 268 

1702 237 

1703 241 

1704 237, 241 

1705 237 

1706 248 

1707 210, 242 

1708 248 

1709 242 

1710 242 

1711 242, 255 

1712 242 

1713 242 

1714 242 

1715 243 

1716 217, 243, 285 

1717 216, 243 

1718 216, 243 

1720 ' 243 

1721 243, 271 

1723 237, 243 

1724 237 

1725 261 

1726 243, 255 

1727 244 

1728 244, 271, 280, 285 

1729 237, 244 

1730 244, 261 

1781 244, 255, 282 

1732 237, 282, 283 

1733 237, 244 

1734 244, 273 

1735 244 

1736 237 

1737 255 

1788 244 

1739 244 

1740 287, 261 

1741 245, 275 

1742 -» 245, 261, 271, 283 

1743 238 

1744 245 

1745 238 

1746 238 

1747 245 

1748 238 

1749 255, 271 

1750 245 

1751 238, 273, 275 

1752 261 

1758 238, 268 

1754 245 

1755 238 



INDEX TO CHAPTEH XI. 



xli 



A. D. Page. 

1756 264 

1757 238 

1758 262 

1759 238 

1760 239 

1761 239 

1762 248 

1763 289,262,271 

1764 289 

1765 218,264 

1766 217, 239 

1767 239 

1768 239, 273 

1769 248, 281, 284 

1770 255 

1771 215, 262 

1772 248 

1773 255 

1774 239 

1775 ' 262 

1776 262 

1777 248 

1778 289 

1779 240 

1780 227, 281 

1781 240 

1782 240 

1783 240 

1784 240 

1785 240, 273 

1786 262 

1787 240 

1788 255, 284 

1789 240 

1790 256 

1791 240 

1792 210, 241 

1793 241 

1794 : 241 

1795 269 

1796 241 

1797 264 

1798 241 

1799 262 

1800 213 



A. D. Page. 

1801 241 

1802 262, 273 

1803 241, 273 

1804 241 

1805 262 

1806 263, 273 

1807 210, 242 

1808 263 

1809 242, 273 

1810 242 

1811 242 

1812 210, 242 

1813 242 

1814 242 

1815 243 

1816 248, 271 

1817 217, 243 

1818 216, 243 

1819 216 

1820 210, 243 

1821 243 

1822 ; 263 

1823 243 

1824 256, 271 

1825 263, 280 

1826 243 

1827 244 

1828 , 244 

1829 244 

1830 244 

1831 244, 275 

1832 256, 271, 281 

1833 244 

1834 244 

1835 244 

1836 256, 273 

1837 256 

1838 244 

1839 244 

1840 263, 271 

1841 245, 275 

1842 245 

1844 245 

1847 245 

1850 245 



Xlii INDEX TO CHAPTER XI. 



HISTOEICAL EVENTS. 



[All dates are A. D., except where otherwise Indicated.] 

Event. Year. Page. 

Abyssinia, war with England 1867 257 

Achaia founded B. C. 1329 222 

Achaia, war with Sparta B. C. 227 265 

Actium, battle of B. C. 31 285 

Advertisement, first newspaper 1652 238 

urEgina subdued by Athens B. C. 454 214, 268 

Africa first invaded by Saracens. 647 261 

Agincourt, battle of 1415 216 

Agrigentum founded B.C. 582 226 

Agrigentum destroyed B.C. 405 224 

Air pump invented 1650 253 

Alexandrian Library founded B.C. 284 223,266 

Alhambra commenced 1283 255 

Almanac, first 1150 253 

Almanac, first nautical 1767 239 

iVmerica discovered by Columbus 1492 210, 222, 250, 251 

American Revolution commenced 177o 208, 269 

Amsterdam Bank founded 1609 247 

Anemometer invented 1709 237 

Antioch founded B.C. 300 268 

Antioch destroyed by earthquake 526 260 

Appian Way commenced B. C. 312 224, 269 

Apulia conquered by Tancred 1190 223 

Argos Kingdom founded B. C. 1854 223 

"Armada" destroyed 1588 • 284 

Arras, Treaty of 1414 216 

Asia, first invaded by Romans B. C. 190 223 

Athens founded B. C. 1556 231 

Athens conquered'. B. C. 404 214, 268 

Athens captured by Sulla B.C. 86 219 

Augsburg, Diet of 1530 270, 272. 

Augsburg, Diet of 1555 234 

Babylon rebuilt by Semiramis B.C. 740 266 

Bagdad founded 760 ' 266 

Balloon invented 1783 255 

Bank of Amsterdam established 1609 247 

Bank of England established 1694 249 

Bank of Venice established 1157 249,254 

Bannockburn, battle of 1314 216 

"Barebones" Parliament 1653 247 

Barometer invented 1643 249 

"Baron's" War 1268 • 232,255 

Bastile founded 1369 209,257 



INDEX TO CHAPTER XI. xllU 



Event. Year. 

IBible, first English, printed 1535 

Bible, first English, printed in U. S 1752 

"Black Hole," Calcutta 1756 

Blenhedm, battle of 1704 

Book, first 887 

Book, first printed 1455 

Boston> great fire in 1872 

Boyne, battle of the 1690 

Brazilian Revolution 18b9 

Britain first invaded by "Romans B. C. 55 

Britain evacuated by Romans 410 

Brunanburh, battle of 937 

Budapest University founded 1465 

Byzantium founded B. C. 675 

Byzantium fell 196 

Calculating machine invented 1667 

Calcutta, "Black Hole" of. 1756 

Cambridge University founded 635 

Camera Obscura invented 1515 

Cannse, battle of B.C. 216 

Cann^on first used 1331 

Cappiano, battle of : 1325 

Cards (playing) invented 1391 

Carthage founded B. C, 878 

Carthage destroyed by Romans B.C. 146 

Carthage destroyed by Arabs 698 

Catiline, conspiracy of B. C. 63 

Centigrade thermometer invented 1742 

Chalons, battle of 451 

Charta, Magna 1215 

Chess invented B.C. 608 

Chicago, great fire in 1871 

China, conquered by Moguls 1280 

China, Moguls expelled from 1368 

China, war with Japan 1894 

China, Great Wall of. begun B. C. 214 

Coliseum built 70 

Cologne Cathedral -commenced 1248 

Columbian Exposition 1893 

Comedy, first English 1551 

Commons, House of. founded 1265 

Compass, Mariner's, invented .1302 

Constantinople founded 82- 

Constantinople captured by Turks 1453 

Cordova founded 756 

Cordova conquered by Moors 1236 

Coronea, battle of B. C. 447 

Cotton-gin invented 1793 

Crecy, battle of 1346 

Crimean War commenced 1854 

Croesus overthrown by Cyrus B. C. 542 

Crusade, first 1095 

Crusade, Children's 1212 





Page. 




248, 271 




238 




245 




254 




222 




234 




273 




254 




246, 284 




223 




221 




266 




218 




226, 265 




257 




239 




245 




209, 260 




270 




219, 269 




215, 285 




258 




272 




214 




210, 269 




250 




266 




238 




221 




282 




226 




245 




223 




232 




249 




219 




265 




272 




24d 




250 




218, 232 




256 




270. 276 




222, 247 




261, 270 




267, 2(2 




224 




246 




256 


210, 


223, 269, 273, 282 




231 




208, 222. 280 




216, 270 



Xliv INDEX TO CHAPTER XI. 

Event. Year. Pag©. 

Crusade, last 1272 272 

Cuba conquered by Spaniards 1510 270 

Culloden, battle of 1746 255 

Dacian War 86 219' 

Date, first authentic B.C. 776 227,267 

Decemvirate, first Roman B. C. 451 221 

Denmark, war with Sweden 1657 268 

Dictionary, first compiled B. C. 1095 222 

Diving-bell invented 1509 248 

Drama, first B. C. 535 214, 2'dO 

Dunbar, battle of 1296 256 

Ecumenical Council, first 325 258, 264, 265 

Edinburgh University founded 1582 226 

Egypt invaded by Nebuchadnezzar B. C. 550 • 222 

Egypt, conquered by Cambyses B. C. 525 214, 225 

Encyclopaedia, first English 1771 . 245 

Engine, steam, invented 1769 245 

England, founded 829 250 

England, conquered by Danes 1017 252 

England, conquered by Normans 1066 21T 

England, Union of, with Scotland 1603 247 

England, Bank of, established 1694 249 

Englanid, war with U. S. commenced 1812 210,263- 

England, war with U. S. ended 1814 282 

England, war with Abyssinia 1867 257 

Engraving invented 1421 233- 

Ethandune, battle of 878 215 

Eton College founded 1443 224 

Exposition, Paris 1867 257 

Fahrenheit thermometer invented 1726 243 

Fair, Great London 1851 217, 250 

"Field of Cloth of Gold" 1520 270 

Fire, Great Boston 1872 273 

Fire, Great Chicago 1871 245 

Fire, Great Moscow 1812 256 

Fire-arms invented 1363 257 

Fleet, first Roman B. C. 260 230 

Flute invented B. C. 1506 222 

Fontenoy, battle of 1745 238 

Franco-German War 1870 245 

French Academy founded 1635 209, 260 

French Revolution 1789 246, 284 

Garter, order of, instituted 1351 232 

Germany founded 919 251 

Germany, Smalkaldic war began 1546 268 

Germany, war with France 1870 24.5 

Germany, empire established 1848 256, 271 

Gettysburg, battle of 1863 257 

Gisors, battle of 1198 250 

Glasgow University founded 1451 232 



INDEX TO CHAPTER XI. xlv 

Event. Year. Page. 

Olass (object), Achromatic, invented 1758 245 

Goths first invade Rome 249 265 

Gottingen University founded 1737 244 

Greenwich Observatory founded 1675 226 

Grist mills invented 214 219,269 

Gunpowder invented 1250 250 

"Gunpowder" Plot .' 1605 210, 249 

Hadrian's Wall built 121 214 

Halidon-Hill, battle of 1333 215 

Hanover, Ki»ngdom of, founded 1814 227 

Harvard University founded 1636 209, 261, 271 

Hastings, battle of 1066 217 

"Hegira" of Mohammed 622 250, 260 

Heidelburg University founded 1386 251 

Heraclea, battle of B.C. 280 223,267 

Holland founded 1348 256 

Holland, conquest of 1672 254 

Homer's "Iliad" first appeared B. C. 961 285 

Hour Glasses first used ' 240 265 

HuoTigary founded 896 251 

Hungary conquered 1526 260 

Hussite wars began 1419 251 

Iceland settled 874 249,263 

"Iliad" first appeared B.C. 961 285 

Independence, Declaration of, U. S 1776 227 

India, Great Mutiny in 18.57 245 

Inquisition established. 1203 254 

Inquisition (Spanish) established 1480 225,250 

Ireland, invasion of by Danes 812 263 

Ireland, conquest of 1172 254 

Japan founded B. C 660 226 

Japan, War with China 1894 249 

Jerusalem captured by Nebuchadnezzar. . B. C. 598 226 

Jerusalem captured by Frederick II 1220 267 

Kalderoon, battle of 1514 217 

Kerosene, first used 1826 243 

Khotin, battle of 1673 268 

Knights of Round Table organized 516 208 

Knights Templars founded 1118 209,253 

Knitting-machine invented 1777 245 

Kremlin (Moscow) founded 1367 257 

Lathe (steam) invented 1843 249 

Latin Kingdom founded 1204 254, 270 

Leipsic University founded 1409 247 

Library, first private B. C. 335 230 

Library, first public B.C. 539 266 

Lightning-rod invented 1752 245 

Lithography invented 1799 256 

Locomotive, first 1814 249 



xlvi INDEX TO CHAPTER XI. 

Event. Year. Page, 

Lodi. battle of 1796 256 

Logarithms invented 1614 249 

London rebuilt 306 . 270 

London, Plague in 1665 218 

London, Great Fire in 1666 217 

"Long" and "Short" Parliaments 1640 . 249 

Liitzen. battle of 1632 272,283 

Macedon founded B.C. 814 227 

"Magna Charta" 1215 282 

Mamelukes, Massacre of 1811 242 

Mantineia, battle of B.C. 383 214,224 

Marathon, battle of B.C. 490 231 

Masaniello's Revolt 1647 261 

"Mayflower" landed 1620 210,283 

Medes conquered by Persians B. C. 556 231, 267 

Meloria, battle of 1284 272 

"Merrimac" and "Monitor," battle of 1862 263 

Metric system originated 1790 240 

Mexican War 1847 282 

Microscope invented 1590 272 

Mills (grist), invented 214 219,269 

Moguls conquer China .1280 ' 223 

Moguls expelled from China 1368 232 

Mogul Empire founded 1526 250 

Mohammed, "Hegira" of 622 250 

"Monitor" and "Merrimac," battle of 1862 263 

Morgarten, battle of 1315 256,270 

Moscow, Kremlin of, founded 1367 2.57 

Moscow burned 1812 256 

Muret, battle of 1213 216 

Museum, British, founded . 1753 227 

Musical notation invented 1025 223 

Muskets invented 1521 233 

Mycense founded B. C 1431 231 

Mycense conquered B. C. 1106 222 

Najara, battle of 1366 217 

Nantes, Edict of 1598 226 

Nantes, Edict of, revoked 1685 • 236 

Naples University founded 1224 267 

Narva, battle of 1700 268 

Naseby, battle of 1645 238 

Navaretta, battle of 1367 257 

Navarre, Kingdom of, founded 861 263 

Navarre, Kingdom of, fell 1284 223 

Nemours, Edict of 1585 236 

Neptune discovered 1846 245 

New Orleans, battle of 1815 256 

Newspaper, first 1457 249 

Newspaper, first English 1622 260 

Newspaper, first English daily 1702 241 

Newspaper, first United States 1690 « 240 

Nice, Council of 325 258, 264, 265- 



INDEX TO CHAPTER XI. xlvii 

Event. Year. Page. 

Nicopolis, battle of 1396 251 

Nile, battle of the ' 1798 256 

Normandy conquered 1106 222 

Object Glass (achromatic) invented 1758 245 

Olympian games originated B. C. 1453 222 

Olympian games abolished 393 214 

Olympiad of Coroebus B.C. 776.' 227,267 

Omar, Mosque of, founded 636 215,261 

Organ invented 750 250 

Orleans University founded 1312 217, 224, 256, 270 

Orleans, battle of 1429 259, 2(>7 

Ottoman Empire founded 1329 222,250 

Oxford University founded 886 251 

Padua University founded 1222 215 

Pantheon built B.C. 25 223 

Paper invented 716 266 

Parchment invented B.C. 887 222 

Paris, Treaty of 1856 245, 271 

Paris Exposition 1867 257 

Paris University founded 792 262 

Parliament founded 1265 218,232 

Parliament, "Rump" 1648 273 

Parliament, "Barebones" 1653 247 

Parliament, first of Great Britain 1707 242 

Parliaments, "Short" and "Long" 1640 249 

Parthenon commenced B.C. 443 224 

Pavia, battle of 1525 225, 270 

Peloponnesian War commenced B. C. 4-31 231 

Persian Empire founded B. C. 519 231 

Persian Kingdom fell 651 261 

Peru conquered by Pizarro 1532 283 

Pharsaha, battle of B.C. 48 265 

Phillippi, battle of B.C. 42 231 

Phonograph invented 1877 245 

Phonography invented 1837 244 

Photography invented 1802 241, 256 

Piano-forte invented 1709 248 

Pisa, Leaning Tower of, commenced 1174 249 

Plassy, battle of 1757 245 

Plateea, battle of B. C. 479 225 

Poland founded 992 251 

Polish republic crushed 1846 256 

Postoffice, first 1516 216 

Postage (penny), originated 1840 249 

Prague, battle of 1620 235 

Press, hydraulic, invented 1649 250 

Princeton University founded 1746 245 

Printing invented 1441 215 

Printing Machine, first 1814 243 

Pump (air) invented 1650 253 

Punic War, first B.C. 264 267 

Punic War, second B.C. 237 267 



xlviii INDEX TO CHAPTER XI. 

Event. Year. Page. 

Railroad, first passenger 1825 264 

Heaumur Thermometer invented 1730 244 

Reformation 1517 ' 252, 282 

Revolutionary War began 1775 208 

Revolvers invented 1830 244 

Rome founded B.C. 753 227,285 

Rome, first Decemvirate B.C. 451 221 

Rome, first Fleet B. C. 260 230, 265 

Rome, first Triumvirate B. C. 60 230 

Rome, second Triumvirate B. C. 43 265 

Rome, invaded by Gauls B.C. 225 269 

Rome, burned by Nero 64 284 

Rome, first invaded by Goths 249 265 

Rome, sacked by Alaric 410 259 

Rome, sacked by Genseric 455 259 

Rome, Sistine Choir established 461 266 

Rome, Empire fell 476 259 

Rome, invaded by Slavs and Huns 550 222 

Rome, plundered by Ladislas 1413 224 

"Roses," War of 1455 . 259 

Round Table, Knights of, organized 516 207 

Royal Society, London, founded 1660 ,226 

"Rump" Parliament 1648 273 

Russia, founded 862 210, 263 

Russia, Serfs freed 1861 210,263 

Russia, War with Turkey 1711 242 

Russia, War with Turkey 1768 255 

Russia, War with Turkey 1770 245 

Russia, War with Turkey 1826 250 

Russia, War with Turkey 1877 263 

St. Peter's Church commenced 1506 222 

St. Petersburg founded 1703 254 

St. Petersburg University founded 1747 245 

Sadowa, battle of 1866 217 

Salamis, battle of B. C. 480 225 

Salvatierra, siege of 1211 257 

Samnite War, first B.C. 343 214,268 

Samnite War, second B.C. 327 268,269 

Saragossa, battle of 1710 261 

Saxon Heptarchy 457 265 

Schools, first pubhc, United States 1642 238,271 

Schools, Sunday, established 1780 2-30 

Scotland, Union with England 1603 247 

Serfs, Russian, emancipated 1861 263 

Seven Years' War commenced 1756 261,271 

Severus, Wall of, finished 211 257 

Severus, war with Persia 232 250 

Seville, siege of 1246 255 

Sewing machine invented 1847 245 

"Short" and "Long" Parliaments 1640 249 

Shrewsbury, battle of 1403 247 

Sicily conquered 429 217,259 

Sicily conquered 1266 217 



INDEX TO CHAPTER XI. xlix 

Eve-nt. Year. Page. 

Sistine Choir, Rome, established 461 266 

Slave trade began 1444 215 

Slave trade abolished, Great Britain 1807 210, 242 

Slave trade abolished, United States 1865 218 

Sleeping- Car invented 1858 245 

Sparta,, founded B. C. 1490 231 

Sparta, war with Achaian League B. C. 227 265 

Spartacus, Rebellion of B. C. 71 267 

Spectacles invented 1299 256 

Steahi Engine invented 1769 245 

Steamboat, first 1807 210 

Stenography invented 1413 217,270 

Stereotyping invented 1735 244,248,271 

Stirhng, battle of 1298 256,267 

Stockholm, Massacre of 1520 235 

Suez Canal opened 1869 245,257 

Sunday Schools established 1780 250 

Swansea, battle of 877 263 

Sweden, war with Denmark. 1657 268 

Sydney University founded 1852 245 

Syracuse founded B.C. 751 265 

Syracuse, battle of ' B. C. 413 224 

Syracuse captured by Romans B.C. 212 214 

Syria invaded by Artabanus 216 219, 285 

Tannenberg, battle of 1410 259 

Telegraph invented 1835 244 

Telephone invented 1874 263 

Telescope (refracting), invemted 1608 226 

Telescope (reflecting), invented 1657 254 

Teutonic Knights organized 1190 254 

Thebes founded B. C. 1492 . 222 

Thermometer invented 1609 237 

Thermometer (Fahrenheit), invented.... 1726 243 

Thermometer (Reaumur), invented 1730 244 

Thermometer (Centigrade), invented.... 1742 238 

Thermopylae, battle of B. C. 480 225 

Thessalonica, Massacre at 390 259 

Thirty Years' War began 1618 253, 271, 283 

Torpedoes invented 1777 " 250 

Tours, battle of 732 250,283 

Tower, Leaning, commenced 1174 249 

Trafalgar, battle of 1805 210,249 

Tragedy, first exhibited B. C. 535 214, 230 

Trent, Council of 1545 272 

Triumvirate, first Roman B.C. 60 230 

Triumvirate, second Roman B.C. 43 265 

Turkey, conquered by Saracens 710 " 261 

Turkey, war with Russia 1711 242 

Turkey, war with Russia 1768 255 

Turkey, war with Russia 1770 245 

Turkey, war with Russia 1826 250 

Turkey, war with Russia 1877 263 

Turkistan conquered by Tamerlane 1383 224 

Typewriter Invented 1714 248,271 

22 



INDEX TO CHAPTER Xl. 



Event, Year. 

U. S. War of Revolution 1775 

U. S, Declaration of Independence 1776 

U. S. war with England commenced 1812 

U. S. war with England ended 1814 

U. S. Columbian Exposition 1893 

Utrecht, Peace of 1713 

Vaccoli, battle of 1055 

Valmy, battle of 1792 

Varna, battle of 1444 

Vatican Library founded 1447 

Venice, founded 452 

Venice, Bank of, established 1157 

Vienna University founded 1365 

Violins invented 1477 

Volapiik introduced 1881 

Wales subjugated , 1283 

Wall, Great Chinese, begun B. C. 214 

Watches invented 1477 

Waterloo, battle of 1815 

Weissenburg, battle of 1479 

Westminster Abbey consecrated 1065 

Wire, Iron, first used 1349 

Worcester, battle of 1651 

Worms, Concordat of 1122 

Yorktowni, battle of 1781 

Zama, battle of B. C. 202 

Zenobia vanquished by Aurelius 273 



Page. 

208, 269 
227, 282 
210, 263 

282 
246 
261 

223 

250, 262 

267 

224 
265 

249, 254 
218, 232, 272 

209, 250 
215 

267 
219 
209, 250 
282 
225 
218 
250 
261 

250, 272 
282 

214, 267 
265 



DATES KEPKESENTING FOKEGOING EVENTS. 



B. C. 

1854 . 

1556 . 

1506 . 

1492 . 

1490 . 

1453 . 

1431 . 

1329 . 

1106 . 

1095 . 

961 . 

878 . 



Page. 


B. C. 


Page. 


223 


814 


227 


231 


776 


227, 267 


222 


753 


227, 285 


222 


751 


265 


231 


740 


266 


222 


675 


226, 265 


231 


660 


226 


222 


608 


226 


222 


598 


228 


222 


582 


226 


285 


556 


231, 267 


214 


550 


222 



INDEX TO CHAPTER XI. 



BvO. 

542 . 
539 . 
535 , 
525 . 
519 . 
190 . 
480 . 
479 . 
454 . 
451 . 
447 . 
443 . 
431 . 
413 . 
410 , 
405 . 
404 . 
383 . 
343 . 
335 . 
327 . 
312 . 
300 . 
284 . 
280 . 
264 . 
260 . 
227 . 
225 . 
217 . 
216 . 
214 . 
212 . 
202 , 
190 . 
146 , 

86 . 

71 . 

63 . 
60 . 
55 . 
48 . 
43 . 
42 . 
31 . 
25 . 
19 . 

A. D. 

64 . 
70 . 
86 . 

121 . 
196 . 



Page. 


A. D. 


Page. 


231 


211 


257 


266 


214 


219, 269 


214, 230 


216 


219, 285 


214, 225 


282 


250 


231 


240 


265 


231 


249 


265 


225 


273 


265 


225 


306 


270 


214, 268 


324 


270, 276 


221 


325 


258, 264, 265 


224 


390 


259 


224 


393 


214 


.231 


410 


221, 259 


224 


429 


259 


221 


451 


221 


224 


452 


265 


214, 268 


455 


259 


214, 224 


457 


265 


214, 268 


463 


266 


230 


476 


259 


268, 269 


516 


207 


224, 269 


526 


260 


268 


550 


222 


223, 266 


622 


250. 260 


223 


635 


209, 260 


267 


636 


215, 261 


230, 265 


647 


261 


265 


651 


261 


269 


698 


250 


267 


710 .......... 


261 


219, 269 


713 


261 


219 


716 


266 


214 


732 


250, 283 


214, 267 


750 


250 


223 


756 


261, 270 


210, 269 


760 


266 


219 


792 


262 


267 


812 


263 


266 


829 


250 


230 


861 


263 


223 


862 


210. 263 


265 


874 


249, 263 


265 


877 


263 


231 


878 


215 


285 


886 


251 


223 


896 


251 


231 


919 


251 




937 


266 


284 


902 


251 


265 


1017 


252 


219 


1025 


223 


214 


1055 


223 


257 


1065 


218 



Hi 



INDEX TO CHAPTER XI. 



A. D. Page. 

1066 217 

1095 208, 222, 280 

1106 222 

1118 209, 253 

1122 2c0, 272 

1150 253 

1157 249, 254 

1L166 217 

1172 254 

1174 249 

1190 223, 254 

1198 250 

1203 254 

1204 254, 270 

1211 257 

1212 216, 270 

1213 216 

1215 282 

1220 267 

1222 215 

1224 267 

1236 267, 272 

1246 255 

3248 272 

1250 250 

1265 218, 232 

1206 217 

1268 232, 255 

1272 272 

1280 223 

1283 255, 267 

1284 223, 272 

1296 256 

1298 256, 267 

1299 256 

1302 256 

1312 217, 224, 256, 270 

1314 216 

1315 256, 270 

1325 258 

1329 222, 250 

1331 215, 285 

1333 . . 215 

1346 256 

1348 256 

1349 250 

1351 232 

1363 257 

1365 217, 232, 272 

1366 217 

1367 257 

1368 232 

1369 209, 257 

1383 224 



A. D. Page. 

1386 251 

1391 272 

1396 251 

1403 247 

1405 224 

1409 247 

1410 259 

1412 270 

'1413 217, 224 

1414 216 

1415 216 

1419 251 

1421 233 

1429 259, 267 

1441 215 

1443 224 

1444 215, 267 

1447 224 

1451 232 

1453 222, 247 

1455 234, 259 

1457 . . 249 

1465 218 

1477 209, 250 

1479 225 

1480 : 225, 250 

1492 210, 222, 250, 251 

1506 222 

1509 248 

1510 270 

1514 217 

1515 270 

1516 216 

1517 . . .' 252, 282 

1520 235, 270 

1521 233 

1525 225, 270 

1526 250, 260 

1530 270, 272 

1532 283 

1535 248, 271 

1545 272 

1546 268 

1551 250 

1555 234 

1582 226 

1585 236 

1588 284 

1590 '. 272 

1598 226 

1603 247 

1605 210, 249 

1608 226 

1609 237, 247 



INDEX TO CHAPTER XI. 



liii 



^- D- Page. 

1614 249 

1618 253, 271, 283 

1620 210, 235, 283 

1622 260 

1632 272, 283 

1635 209, 260 

1636 209, 261, 271 

1640 249 

1642 238, 271 

1643 249 

1645 238 

1647 261 

1648 273 

1649 250 

1650 253 

1651 261 

1652 238 

1653 247 

1657 254, 268 

1660 226 

1666 217 

1667 239 

1672 254 

1673 268 

1675 226 

1685 236 

1690 240, 254 

1694 249 

1700 268 

1702 241 

1703 254 

1704 254 

1707 242 

1709 237, 248 

1710 261 

1711 242 

1713 261 

1714 243, 271 

1726 ,.. 243 

1730 244 

1735 244, 248, 271 

1737 244 

1742 238 

1745 238 

1746 245, 255 

1747 245 

1752 238, 245 

1753 227 

1756 245, 261, 271 

1757 245 

1758 245 

1767 239 

1768 255 

1769 245 



A. D. Page. 

1770 245 

1771 243 

1775 208, 269 

1776 227, 282 

1777 245, 250 

1780 250 

1781 282 

1783 255 

1780 246, 284 

1790 240 

1702 . 250, 262 

1793 246 

1796 256 

1798 256 

1799 256 

1802 241, 256 

1805 210, 249 

1807 210, 242 

1811 242 

1812 210, 256, 263 

1814 227, 243, 249 

1815 256, 282 

1825 264 

1826 243, 250 

1830 244 

1835 244 

1837 244 

1840 249 

1843 . 249 

1846 245, 256 

1847 245, 282 

1848 256, 271 

1851 250 

1852 245 

1854 210, 223, 269, 273, 282 

1856 245, 271 

1857 245 

1858 245 

1861 210, 203 

1862 263 

1863 257 

1865 218 

1866 217 

1867 257 

1869 245, 257 

1870 245 

1871 245 

1872 273 

1874 263 

1877 245, 263 

1881 215 

1889 246, 284 

1893 246 

1894 249 



J 



CHAPTER XII. 



EVENTS. FACTS. 



Eyents, considered in connection with Memory cul- 
ture, may be separated into classes, in accordance with 
the vividness of the impression which various kinds of 
€^vents^are capable of producing — the particular clian- 
nels through which the knowledge of events enters the 
mind determining the relative vividness of such im- 
pressions, and thus being the proper basis of classifica- 
tion. On this basis Events may be divided into three 
classes — Personal, Impersonal, and Historical. 

Personal Events are those that we ourselves witness, 
or in which we participate, our knowledge of them thus 
not being derived from any exterior source. 

Impersonal Events are those with which we have no 
direct connection, but which we learn from other per- 
sons who have knowledge of them, or through the pe- 
rusal of current periodicals; being recent, they rarely 
possess more than ordinary importance. 

Historical Events are those w^hich may have influ- 
enced the destiny of a state or nation and are deemed 
w^orthy of perpetuation in History. While they may 

(289) 



290 THE ART OF MEMORY. 

be ancient, medieval or modern, yet the term "His- 
torical" is considered to apply to events which hap- 
pened prior to the time in which we live. A living 
man may have participated in an event which proves 
to be of historical import — but to Mm the event is a 
personal one. We may read in a newspaper the par- 
ticulars of an occurrence which at the time seems of 
only passing consequence— and yet may turn out to 
be the forerunner of events which thrill the heart of a 
nation. The attack by John Brown and his compan- 
ions on Harper's Ferry was considered at the time as 
only of local significance, but eighteen months after- 
wards the guns at Fort Sumter sounded the key-note 
of the Civil War. The levy by the British Pai^liament 
of a three-penny tax on tea seemed an unimportant 
matter at the time — but was it not the cause of the 
"Boston Tea Party?" — which in turn led to the War 
of the Revolution? The great philanthropist, Thomas 
Clarkson, when a student at Cambridge, had occasion 
to write a competitive essay on the subject of human 
slavery. By the time he had made the necessary re- 
search to become familiar with his theme, he was so 
profoundly impressed with the horrors of the slave 
trade that he resolved to henceforth devote his energies 
to its extinction. Though his efforts met with scorn 
and derision for a long time, he lived to see Parliament 
pass and carry into effect an act abolishing slavery in 
Great Britain and all her colonies. 

Personal Events, being participated in by ourselves, 
are the most vividly impressed of all on the conscious- 



EVENTS. FACTS. 291 

ness, and are therefore the most enduring in the mem- 
ory; Historical Events are the least so, as they are 
learned only through the medium of literature, their 
vividness of portrayal in the mind being mainly de- 
pendent on the strength of the imaginative faculty; 
while the knowledge of Impersonal Events is trans- 
missible to the understanding by either of two chan- 
nels — oral or written; thus that class of events comes 
next to Personal Events in order of retentiveness in the 
memory. 

The faculty of recalling past events is often pos- 
sessed in a remarkable degree by persons having little 
intellectual power. A farm laborer named George 
Watson, living in Sussex, England, who was unable to 
either read or write, could recollect every-clay events 
from an early period of his life. He knew on what day 
of the week any given date fell, where he was, what he 
was doing, and the state of the weather. 

A farmer named Daniel McCartney, who was living 
in 1870, had a remarkable memory of personal events, 
extending back to the early part of 1827, when he was 
less than ten years old. He could tell the day of the 
week for any given date, and the condition of the 
weather on that day. He could also recollect how he 
was occupied, and where, during each of those 15,000 ^ 
days; and besides could give the date and day of all 
public events during that whole time which had come 
to his cognizance — and there were evidently few that 
had not done so. 

The accuracy of McCartney's memory was com- 



292 THE ART OF MEMORY. 

pletely borne out by examination, the various questions 
and answers being given in full in "The Journal of 
Speculative Philosophy'' for January, 1871. 

In 1896 there died in Murray County, Georgia, at 
the age of 94 years, a man named Evan S. Howell, who 
could, up to a short time before his death, give from 
memory the day and date of every important event that 
had happened since he was a boy. He recollected the 
pluralities by which every County, State and National 
election had been carried, and could give the names of 
all the candidates. He could tell from memory when 
the various lands and railroads in his state had been 
surveyed, and by whom. He frequently asserted that 
he could recollect the names of every man, woman and 
child that he had ever met — a claim that seemed to be 
well founded; and it was said of him by intimate 
friends that he never forgot anything he had ever seen 
or heard or knew to be fact. 

While the memory of events carries with it to some 
extent that of the corresponding dates, yet the two are 
not inseparable — ^which is especially the case with His- 
torical Events and their dates; the events may be re- 
called with the utmost readiness, even to the most 
minute detail, while the duration of the dates in the 
memory may be extremely uncertain. To insure the 
retention of both, an association must be formed be- 
tween them, the proper method of securing which has 
already been set forth in Chapter 11. 

No more apt illustration can be given of the best 
method of cultivating Memory of Personal Events 



EVENTS. FACTS. 293 

than is furnished in the "Memoirs'^ of Thurlow Weed, 
one of the most noted of American politicians, who 
flourished during the latter half of the first century of 
American Independence. 

Here are his own words : 

"Some of my friends used to think that I was ^cut 
out' for a politician, but I saw at once a fatal weakness. 
My memory was a sieve. I could remember nothing. 
Dates, names, appointments, faces — everything escaped 
me. I said to my wife, ^Catherine, I shall never make 
a successful politician, for I cannot remember, and that 
is a prime necessity of politicians. A politician who 
sees a man once should remember him forever/ My 
wife told me I must train my memory. So when I 
came home that night I sat down alone and spent fif- 
teen minutes trying silently to recall with accuracy the 
principal events of the day. I could remember but 
little at first — now I remember that I could not then 
recall what I had for breakfast. After a few days' 
practice I found I could recall more. Events came 
back to me more minutely, more accurately, and more 
vividly than at first. After a fortnight or so of this, 
Catherine said, ^Why don't you relate to me the events 
of the day instead of recalling them to yourself? It 
would be interesting, and my interest in it would be 
a stimulus to you.' 

"Having great respect for my wife's opinion, I be- 
gan a habit of oral confession, as it were, which was 
continued for almost fifty years. Every night, the last 
thing before retiring, I told her everything I could re- 



294 THE ART OF MEMORY. 

member that had happened to me or about me during 
the day. I generally recalled the very dishes I had for 
breakfast, dinner and tea; the people I had seen and 
what they had said; the editorials I had written for 
my paper, giving her a brief abstract of them; I men- 
tioned all the letters I had seen and received, and the 
very language used, as nearly as possible; when I had 
walked or ridden — I told her everything that had come 
within my observation. I found I could say my lessons 
better and better every year, and instead of the prac- 
tice growing irksome, it became a pleasure to go over 
again the events of the day. I am indebted to this dis- 
cipline for a memory of somewhat unusual tenacity, 
and I recommend the practice to all who wish to store 
up facts, or expect to have much to do with influencing 
men." 

This peep into the home life of one of the most 
prominent and influential men of his time is interest- 
ing, and the advice on memory culture given by one so 
well qualified to offer it by reason of an unusually ex- 
tended experience is invaluable, and the method is rec- 
ommended to all who are desirous of being able to 
recollect a Long chain of personal events, from the most 
important down to the petty details of every-day life. 
To tell much means to remember much; he who dis- 
cusses w^hat he has seen, heard or read, will recollect it 
far better than if he simply thinks over it. As telling 
is not always possible, however, whatever is w^orth re- 
membering of past events should be mentally reviewed 
so often that none of the essential details will be lost; 



I 



EVENTS. FACTS. 295 

and if this be done with sufficient attention, the memory 
will eventually become so strengthened that it will re- 
tain the first impressions it receives for a surprisingly 
long period. As what is seen produces the most vivid 
impressions of all, and what is read the least so, due 
allowance should be made for this difference, and es- 
pecial effort made to read with attention that which it 
is desired to remember, so as by aid of the fancy to 
realize in some degree how the event depicted must 
have appeared to an eye witness — thus applying in 
part, through the medium of the imagination, the vivid- 
ness contributed by personal participation in the event. 
And thus through Attention and Keview may the 
end be accomplished of bringing towards perfection 
that faculty, one of the most grateful of all the pos- 
sessions of the human mind, the Memory of Events. 

FACTS. 

An Event is a Fact, but a Fact is not necessarily 
;an Event. 

An Event implies action, while a Fact may be either 
active or passive. As considered with reference to 
memory culture, it will be assumed that a Fact is pas- 
sive — ^that it is a truth, which has been proved scien- 
tifically or practically. 

Facts are more difficult to recollect than Events; 
for, in the latter case, there is the powerful stimulus to 
help impress the memory, of action — which is not pos- 
-sessed by the former; in order, therefore, that nearly 



296 THE ART OF MEMORY. 

as vivid an impression may be produced on the mind 
by Facts, as Events — greater concentration of the at- 
tention is required. 

The way in which Facts may be best memorized is 
through Classification. Compare the housewife who 
has a place for everything and keeps everything in its 
place, with one who strews her household articles about 
in a hap-hazard fashion, without the least apparent 
regard for system, and you have an apt illustration of 
Method and Disorder. As well might a compositor 
distribute his type indiscriminately in one pile and ex- 
pect to set it again with accuracy and dispatch, or a 
bank teller attempt to pay out moneys with quickness 
and correctness from a confused mass of coin and bills 
of all denominations, as a person expect to draw from 
his memory, at pleasure, facts which have been hurled 
into it at various times without the slightest regard to 
classification. 

Let us suppose two men, of equal natural memory 
power, reading a book replete with miscellaneous facts, 
each person desiring to retain as many of them in his 
memory as possible. Both read the book with attention, 
but one relies entirely on the "naturaP' (so-called) reten- 
tiveness of his memory, making no effort to classify 
the various facts — while the other person puts each one 
carefully away in its proper pigeon-hole of the memory, 
promptly associating it with correlative facts already 
there. Suppose that a year afterwards each of these 
persons should be asked to tell all that he could of what 
he had read in the book mentioned — which one would 



EVENTS. FACTS. 297 

be able to recall the most? To this question there is 
but one answer: He who had classified his facts could 
probably recollect nearly all of them — while the other 
person would be able to recall but few, for want of as- 
sociation. 

To illustrate the method of classifying: A person 
interested in learning about the most striking geo- 
graphical features of the earth, ascertains that the lof- 
tiest mountain in Europe is Mont Blanc; of North 
America, Mt. St. Elias; of South America, Mt. Sorato; 
and of Asia, Mt. Everest, which towers to a height of 
29,000 feet above the sea. 

At other times he learns that the highest volcano 
in the world is Cotopaxi, in Ecuador, which is 19,500 
feet above the sea — the oldest known active volcano^ 
Stromboli, and the largest, Etna; and that Etna and 
Vesuvius are never active at the same time, the period 
of extreme activity in either being that of greatest 
quiescence in the other. How natural for facts like the 
above to cluster together in the memory! 

Facts such as the following may be gathered at pe- 
riods wide apart — and yet how natural the association 
between them! 

We learn that the highest place on the earth's sur- 
face inhabited by man is Ancomarca, Peru, which is 
16,000 feet above the sea; the lowest the valley of the 
Jordan, nearly a quarter of a mile below sea-level ; and 
that the lowest inhabited spots below the earth's sur- 
face are some of the mines in Bohemia, 2000 feet below 
the sea. The latter fact is suggestive of heat, and we 



298 THE ART OF MEMORY. 

find that the city situated nearest the equator is Quito, 
Ecuador; that fact, by contrast, suggests cold, and we 
learn that the most northerly town in the world is 
Hammerfest, Norway, and the most southerly Punta 
Arenas, on the Straits of Magellan; we also ascertain 
the curious fact that the former is no. less than 1200 
miles nearer the North Pole than the latter is to the 
South Pole. 

How easily facts in Natural History like the follow- 
ing may be associated together: The Condor is the 
largest bird, and the Humming-bird the smallest, the 
Kestrel the swiftest, and the Albatross possesses the 
greatest endurance — one having been known to follow 
a ship for sixty-four days without being once seen to 
rest on the water. 

We may read at different times that among musical 
composers the greatest were Beethoven, Mozart, Men- 
delssohn, and Wagner; the most prolific, Bach; the 
most productive opera composer, Piccini, who produced 
over two hundred operas; and the most fertile song- 
writer, Schubert, who wrote over twelve hundred songs 
during his short life of thirty-one years. 

All of the foregoing illustrations show how easily 
and naturally facts may be associated together when 
properly classified. 

In the memorizing of Facts the following plan is 
recommended : 

When a fact is learned which it is desired to retain 
in the memory, promptly link it with other facts in the 
same class which are already known; if those be few, 



EVENTS. FACTS. 299 

associate it with all ; if many, with the most important 
ones. Do not glut the mind with facts which are triv- 
ial, but memorize only that which is worthy of being 
preserved among Memory's archives and with which 
the mind and the heart are in symi3athy. 

It should always be borne in mind that in the stor- 
ing away of facts, as of anything else, the most essen- 
tial endowment is enthusiasm — for upon the degree in 
which that is possessed depends in a great measure the 
thoroughness and permanence of the results achieved. 
Where there is true enthusiasm easy is the pathway; 
and where native zeal is lacking, or is sluggish, an in- 
terest may be created and cultivated to an uncommon 
degree. By effort of will an enthusiasm can be forced, 
for the time being, which may not exist naturally, and 
associations made at such time are apt to remain well 
impressed on the memory. 

Each individual should classify facts in the order 
of their interest and importance to himself, and the as- 
sociations should be made with intelligence, earnest- 
ness, and thoroughness. If this be done he will not 
only eventually develop a rare capacity to memorize 
facts, but will always have a rich store of facts in his 
memory at read}^ command. 

28 



CHAPTER XIII. 



LITEKATUEE. DEAMA. DISCOUESE. 



"When we set ourselves to read a book what do we do? We 
place ourselves in communication with a living man. We go back 
with him to the time when he penned the volmne. We think over 
the thoughts which he then thought, we sympathize with the feelings 
which he then experienced. * * * 

If, then, you are admitted to the society of a wise or amusing 
man who gives instruction or entertainment in a winning and grace- 
ful manner, you think it important to be wakeful in his society and 
to catch and weigh every word; why should you not feel the same 
necessity when he speaks to you through the written page? 

^ i^ :'f ifi it: ij: iii I'f iii ij: ;i: ^ ^ ii: 

Read with attention. This is the rule that takes precedence of 
all others. It stands instead of a score of minor directions. Indeed 
it comprehends them all, and is the golden rale. * * * 

The page should be read as if it were never to be seen a second 
time: the mental eye should be fixed as if there were no other object 
to think of; the memory should grasp fhe facts like a vise; the im- 
pressions should be distnictly and sharply received." 

Noah Porter. 

'*We have not read an author till we have seen his object, what- 
ever it may be, as lie saw it." Carlyle. 

"Learn to read slow; all other graces 

Will follow in their proper places." 

William Walker. 

(300) 



LITERATURE. DRAMA. DISCOURSE. 301 

"If we would fix in the memory the discourses we hear, or what 
we desire to speak, let us abstract them into brief compends, and re- 
view them often." De. Isaac Watts. 

"A man may think of a handsome performance at his leisure. A 
short recollection brings it upon the stage, brightens the idea, and 
makes it shine as much as when it was first stamped upon the 
memory." ' Jeremy Courier. 



We now come to the consideration of how to best 
memorize the contents of a book — its essence, not its 
letter. That which reaches our mental perception 
through the medium of books (by which is meant, 
books having a connected plan or purpose throughout) 
may be divided into two general classes, one appealing 
largely to the sensibilities, the other chiefly to the 
intellect. The former is comprised chiefly in Biography, 
Narrative and Fiction, whose purpose is entertain- 
ment, rather than instruction, and which, being more 
easily retained in the memory than that which is in- 
tended purely to promote knowledge, will be consid- 
ered first. Biography, Narrative, and Fiction, are 
stories; the first is the story of a life. Narrative is the 
story of a part of a life. Fiction is an invented story, 
a product of the imagination. Their perusal calls into 
exercise the imaginative faculty, the passions or emo- 
tions being affected far more than by other kinds of 
literature. 

Because the imagination and passions are especially 
influenced by the reading of Biography, Narrative or 
Fiction, any production representing either of those 



802 THE ART OF MEMORY. 

ilopniiinonts of lileratuiv is best nuMiiorizod by a sorios 
of inviital pivliircs, or iiua^os — aud Iho saiiio images 
Avhioh are foriuod at llio original reading will, as a 
rnlo bo roprodnood on a sooond pernsal or a mental 
nniew. As each seene is presented, each action por- 
trayed, it shonld be pietnred in the imagination with 
the ntmost vividness that is possible; every essential 
detail shonld be inelnded — not a featnre omitted; and 
as each tdiaraeter is bronght into view, the featnres 
and form, the general appearance, and even dress, 
shonld be imagined, so that the whole may seem a 
living reality. All this shonld be done with thorongh- 
ness as the reading proceeds; the imagination shonld 
fnlly grasp each sitnation ere the next is bronght be- 
fore the nuMital vision; occasionally the mind shonld 
again pictnre scenes that have been already presented, 
and when llu^ book is entirely pernsed, it shonld be 
mentally reviewed from beginning to end. Ulnstra- 
tions shonld be stndied with the closest attention, and 
the scenes which they represent vividly impressed on 
the mind, as they will be more easily grasped and 
more secnrely retained than what the imagination 
mnsl invent. To memorize the nnmber of each chap- 
ter which initiates a marked change of scene, or where 
new characters appear, will help to impress each scene 
mori^ vividly on the mind. All this will reqnire time, 
patience and attention, bnt when the book has been 
memorized in this wav its contents will be a lasting 
possession, instead of merely impressions illy detined 
at the ontset and fading rapidly as time passes ou. 



LITERATURE. DRAMA. DISCOURSE. 303 

It may be that the real profit derived from reading 
a narrative or novel, however faithfully impressed on 
the memory its details may be, is insignificant com- 
pared with the benefit gained from the perusal of a 
book which is instructive rather than merely entertain- 
ing; but however that may be, it cannot be gainsaid 
that many a delightful hour may be spent in reviewing 
in memory the scenes and incidents of a well-written 
piece of fiction — in feasting the eye upon its woods and 
fields and hills and dales — in recalling those enchant- 
ing hours when the senses were enthralled by the 
stirring events which the magic touch of Fancy 
wrought into added life — in gazing on the faces and 
forms that once were so familiar! Who will say that an 
intimacy with the matchless creations of such masters 
of the pen as Dickens, Bulwer, or Scott — Hugo, Field- 
ing, or Thackeray, is not an important part of a liberal 
education? Surely such characters as Ivanhoe, Glau- 
cus. Col. Newcome, and Squire Allworthy must live in 
the minds and hearts of men as long as literature 
lasts; the sublime self-sacrifice of Thomas Carton, the 
true loftiness of character of Jean Valjean, must ever 
be an inspiration to a nobler life! — what a void in 
literature were there no Nydia, nor Hester Prynne, nor 
Little Nell! The conspicuous characters of Fiction — 
their deeds, their ambitions, their passions — are illus- 
trations of the mainsprings of human action. To read 
to treasure in the memory the great w^orks of fiction, 
affords the most grateful entertainment to the mind — 
is it not instructive also? 



304 THE ART OF MEMORY. 

And Biography. The well-written biography of one 
who has occupied a higher plane than that of the ordi- 
nary man is usually both interesting and profitable; 
the various steps by which the person whose life is 
portrayed has risen above the level of mediocrity, may 
prove a valuable example to him who reads and re- 
flects, and who would guide his pathway in life by the 
experience of one whose footsteps are worthy to be 
followed. 

Finally, in Biography, Narrative and Fiction, read 
only that which is the best: do not burden the memory 
with writings which are of an inferior character: that 
is the best remembered which is the best written; and 
besides, why should one's mental dessert be of second- 
rate quality when the best may be just as easily ob- 
tained? 

To memorize literature which appeals particularly 
to the intellect, the reasoning power must aid the mem- 
ory. Gibbon, the historian, tells us in his Memoirs of 
the method he pursued in reading a new book. He 
first glanced at the title and looked carefully through 
the table of contents. He then endeavored to recollect 
all that he had ever learned or thought on the subject 
of which the book treated — thus placing his mind in 
the most receptive condition for the perusal of the 
book, and that he might afterwards be better able 
to determine how much his previous stock of knowledge 
had been augmented by the author. 

When the student is about to read a book which is 
of an instructive, rather than entertaining, character, 



LITERATURE. DRAMA. DISCOURSE. 305 

and desires that its contents shall become impressed 
on his memory in the most vivid and enduring manner 
possible, he should 

1st: Note the title of the book and the author. 

2d: Bead the preface carefully. 

3d. Get an idea of the general plan of the work 
by examining the table of contents, and noting the 
relation to each other of the various chapters or di- 
visions, which relation is usually conveyed by their 
titles. 

4th : Bead the first chapter slowly and attentively, 
endeavoring fully to absorb the author's meaning, and 
especially to grasp the principal ideas or propositions 
and understand their relation to each other, and asso- 
ciate the illustrations with the principles which they 
are intended to elucidate. Coleridge, in his Aids to 
Reflection, gives this golden advice: "Force yourself 
to reflect on what you read, paragraph by paragraph." 
Try to understand each phrase and sentence thorough- 
ly before proceeding to the next. As the reading of 
each paragraph is concluded, impress its substance 
more strongly on the mind by mentally asking such 
questions as will cover the field of profitable inquiry, 
and answer them fully before the next paragraph is 
taken up; by these means a far more intelligent and 
enduring conception will be obtained of what the book 
contains than can be done by the ordinary superficial 
manner of reading. 

The simple questions in the list below include all 
that is necessary; they are few and easily recollected 



306 THE ART OF MEMORY. 

by the fact that each one is a monosyllable, the two 
first letters of all excepting the last being identical, 
and the last word consisting of the same letters as the 
first, but differently arranged: 

Who? Where? 

Which? When? 

What? Why? 

How? 

It will be noticed that the questions in the first 
column pertain only to identity of the person or thing; 
in the second column the questions relate to Position 
or Locality, Time, Keason or Purpose, and Manner. 
Such of these questions as are pertinent should be ap- 
plied as the reading of each paragraph is concluded, 
and when they are answered the mind is likely to ap- 
prehend quite clearly the contents of the paragraph, 
which should then be associated by the most conven- 
ient and natural method with that which is immediate- 
ly antecedent. After the whole chapter shall have 
been studied in this manner an abstract of its contents 
should be written down from memory in the student's 
own language, framed in as clear, concise terms as idos- 
sible, without tautology. This abstract should then be 
read over carefully and destroyed — the intrinsic object 
of writing it having been accomplished, viz. : to impress 
the information and ideas contained in the chapter 
more strongly on the memory. 

Proceed with the second chapter in the same man- 
ner, and then link its leading features with those of 



LITERATURE. DRAMA. DISCOURSE. 307 

the first chapter, so that they will follow each other in 
natural order in the mind, and repeat the process to 
the end of the book; then write from memory a con- 
densed abstract of the whole and read it through 
carefully, to be certain that no details of importance 
have been omitted. If in doubt regarding the accuracy 
of any particular portion of the abstract, turn to the 
book for verification; then, when the proper correc- 
tions shall have been made, if any are necessary, de- 
stroy the abstract, compelling dependence, for a review 
of what is contained, on the memory itself. It is a 
good plan to occasionally re-write an abstract of the 
book, verifying its accuracy if necessary, and each 
time destroying the abstract; and it is well when op- 
portunity offers, to relate to others the principal de- 
tails of the book, for they are thereby impressed still 
more deeply on the mind, their retention by the mem- 
ory thus being rendered all the more certain. If this 
method be persevered in, the memory power will in 
time become so strengthened that the task of writing 
an abstract will be unnecessary, the various details, as 
they are reached in the course of perusal, becoming 
established in the memory by a sort of intuitive 
process, and being easily recalled in their natural 
order whenever desired. 

A long and tedious way of accomplishing this ob- 
ject, the above method, may seem to the student — but 
one book mastered will be of more real benefit to him, 
both in regard to the perspicuity and permanence of 
the impressions received and also as contributing to 



308 THE ART OF MEMORY. 

his intellectual growth — ^than a score of books which 
are merely "skimmed" over, or read without being 
properly digested. By reading or studying a book in 
the way suggested, the student not only familiarizes 
himself with the thought and purpose of the author, 
but at the same time improves his own thinking pow- 
ers. He learns to discriminate, to cultivate his judg- 
ment, to translate others' thoughts into his own dic- 
tion, to eliminate whatever is trivial or tautological; 
and with the added memory-power which such practice 
must bring, the student will eventually be able to mas- 
ter the contents of a book at a single reading — and 
that, too, without having to write a synopsis. 

As an objection to this method of reading a book 
it may be urged with some plausibility that it involves 
an expenditure of time and labor which is deserved by 
but a small portion of the literature that issues from 
the printing-press, and as far as the reader is con- 
cerned, by only the especial books of whose contents 
he desires to become the absolute master. 

To such objection the answer is made that the pur- 
pose of studying a book in so attentive and thorough a 
manner is not merely to master the contents of that 
particular book, but also to so cultivate the intellectual 
powers that the next book may be read more easily 
and intelligently, so that ultimately when a book shall 
have received only a single perusal the memory will 
retain all in it that is worth knowing. As the me- 
chanic who constructs a complicated machine is able to 
build another with less difficulty than the original one: 



LITERATURE. DRAMA. DISCOURSE. 309 

as the newly-fledged attorney is able to conduct his 
second case with greater capability and confidence 
than the first: as the athlete who performs a difi&cult 
feat thereby gathers strength and skill to surpass 
w^hat he has already done — so the student who in read- 
ing a book takes ample time and applies himself with 
sufficient assiduity and by the proper method to mas- 
ter its contents must, through such practice, grow in 
mental capacity and be afterwards able with less ef- 
fort than before, to memorize a book of equal pro- 
fundity, or with a like amount of exertion to master a 
work of greater depth. 

Kegarding the class of literature to be chosen 
for perusal, the student is advised to select only such 
works as are within his capacity to fully understand, 
and in which he takes a more than ordinary interest, 
always satisfying himself at the outset that the works 
are w^ritten by authors of repute. 

And what shall be said regarding the omnivorous 
reading of the daily newspaper, which has become so 
prevalent as to be little less than a national epidemic? 
What effect does such reading have on the memory 
power? — is it beneficial or baneful? 

The character of a large portion of the matter con- 
tained in the modern daily newspaper is such that, 
perchance, read to-day with avidity, to-morrow it will 
leave scarce a trace on memory's tablet. It does not 
instruct, nor entertain — it only gratifies a morbid appe- 
tite for the abnormal and sensational, which has grown 
to be a curious feature of modern city life. It is read. 



310 THE ART OP MEMORY. 

not for the purpose of acquiring knowledge, nor of 
keeping informed on the significant events of the 
world's history, but only to satisfy a passing curiosity 
— not that it may be preserved in the memory; thus is 
encouraged a habit of forgetting, every succeeding act 
of which must inevitably tend to weaken the memory. 

It is too true that the wide-spread decadence of 
memory power which exists in these days is largely due 
to the reading of trashy and sensational articles in the 
daily newspapers; and the responsibility for furnish- 
ing this sort of mental fare does not rest with the 
newspaper alone, which usually follows the policy of 
furnishing that which its readers seem to crave — 
sensation; but of what benefit, or even interest, is it 
likely to be half a year hence to have read to-day the 
particulars of some exciting murder trial, or daring 
train robbery, or sensational divorce suit, or brutal 
prize-fight? Of what significance is it a month hence 
that some cricket match or some foot-ball game was 
won by this or that college team? Are such things 
worth treasuring in the memory? 

But notwithstanding the unwholesome tenden- 
cies of the modern daily newspaper, yet that it should 
not be read at all is by no means advised, but only 
that it be read with discrimination. Hamerton, in his 
Intellectual Life, says: "The art of reading is to 
skip judiciously. * * * In every newspaper that 
comes to hand there is a little bit that we ought to 
read; the art is to find that little bit, and waste no 
time over the rest.'' 



LITERATURE. DRAMA. DISCOURSE. 311 

To acquire this art it is necessary to cultivate what 
might be termed a ^^selecting" memory, which is no less 
useful for what it rejects than for what it retains. He 
who possesses a well-trained memory of this kind can 
so direct and control his attention while reading, that 
it will intuitively fasten upon that which has a vital 
bearing on the subject, avoiding with corresponding 
intuition that which is of minor import — thus econo- 
mizing the mental energies, and at the same time plac- 
ing in memory's custody only that which is w^orthy to 
be preserved. 

This faculty can be developed by intelligent prac- 
tice so as to be especially serviceable to the habitual 
reader of the daily newspaper and prevent the gradual 
weakening of his memory which must result from the 
continual acts of forgetting which indiscriminate read- 
ing ordinarily engenders. The possessor of a good 
"selecting memory'' is able, while reading, to separate 
the wheat from the chaff with comparatively slight 
effort; what he reads at all he peruses with attention, 
instead of distributing his mental energies over all 
that happens to meet his eye, selecting his mental food 
from among a heterogeneous mass of reading matter 
it is likely that he will properly digest it, and as w^hat 
may be designated the "rubbish" is not allowed to 
enter his consciousness at all, it cannot well have a 
deleterious effect on his memory. 



312 THE ART OF MEMORY. 

DEAMA. DISCOURSE. 

In every educated community some persons are 
likely to be found who possess superior aptitude in 
the following line of memory-culture: They can at- 
tend a dramatic entertainment or listen to a lecture 
or address, and retain every salient feature of it in the 
memory for years afterwards. They can with ease 
recall the plot of the drama, the principal characters 
and the most impressive scenes; or if they hear a dis- 
course they can recollect the pith of the argument, and 
most of the illustrations or embellishments. The pro- 
portionate number of persons, however, in any com- 
munity who can do this is small; not because there 
is a general lack of memory capacity, but by reason of 
neglect to improve those faculties which the memoriz- 
ing of Drama and Discourse essentially calls into exer- 
cise, the thorough cultivation of which faculties cannot 
but yield rich reward for all the time and endeavor 
devoted thereto. 

The ability to witness the performance of a first- 
class drama, or listen to an able discourse, and retain 
its essential details in the memory, is an acquirement 
which is often of great benefit in the practical walks 
of life — to say nothing of the world of delightful con- 
templation afforded in intervals of leisure; and to 
gain this achievement is not difficult — only intelligent 
application and persevering effort are necessary. 

Let us assume that the student is visiting the the- 
atre, witnessing the rendition of some great historical 



LITERATURE. DRAMA. DISCOURSE. 318 

drama. Scene after scene unfolds itself, each a living 
portrayal of events, thoughts, and emotions belonging 
to some turbulent period of the past, and all appealing 
powerfully to the sensibilities. As the play progresses 
he follows it with the keenest attention, and the most 
vivid image of the prominent details of the drama is 
imprinted on his mind at the conclusion of the per- 
formance. 

The conditions are now most favorable for this 
image or perception to become permanently fixed in 
the memory; it can be if proper effort be made to pre- 
serve it — otherwise its duration in the memory is un- 
certain, for, however powerful the impressions may be, 
it is not sufficient that they be left to take care of 
themselves: they must be digested and the whole re- 
viewed at intervals. 

Shortly after the play has been witnessed the stu- 
dent should cause the whole to again pass before his 
mental vision, no detail being omitted that can pos- 
sibly be recollected; in this way the habit of thorough- 
ness will be cultivated. It is all the better to also 
describe the play to others, as that will cause the de- 
tails to become more strongly impressed on the mem- 
ory; Oral narration is always superior to mental re- 
view as a means of making impressions more lasting. 

On a first endeavor to recall the incidents of a play, 
it is likely that only the main particulars will be recol- 
lected; but if the attempt be repeated it will be found 
that a larger proportion of the details can be recalled 
than before, and the proportion will increase with each 



314 THE ART OF MEMORY, 

trial, until eventually all the essential particulars will 
remain fixed in the memory without the necessity of 
repetition. 

The same method should be pursued in the case of 
Discourse as in that of Drama, and if persevered in 
the practice will be found not only of great value in 
an educational sense, but also highly interesting; and 
the opportunities, especially in cities, of witnessing 
theatrical productions and listening to discourses of 
various kinds, are so frequent that there need be little 
difficulty in obtaining abundant practice. A dramatic 
performance is the most easily recollected of all, and 
an argumentative discourse, as a legal or political ad- 
dress, or a sermon, the least so. In the former case 
scenery, action, and utterance all unite in the creation 
of a vivid impression, while in the latter case both 
scenery and action are wanting — it thus being neces- 
sary that those features should be supplied, as far as 
may be, by the imagination, spurred by increased at- 
tention. Next to a dramatic performance, an illus- 
trated lecture is the most easily impressed on the mem- 
ory, and next a plain lecture or an address on some 
interesting topic, and so on — the faculty of retention 
diminishing as the subject is more abstract. 

In the development of Memory of Drama and Dis- 
course the student need not expect that he can attain 
proficiency by a few rapid strides; he must progress 
by easy stages, advancing gradually from the easiest 
to the most difficult, and not attempting to memorize 
too much at any one time — especially at first. The 



LITERATURE. DRAMA. DISCOURSE. 315 

memory-power will continue to expand with properly 
directed practice, but its growth, to be enduring, must 
have a substantial foundation and advance by moderate 
degrees; the first tasks undertaken should be easy — 
even small — to be augmented as the capacity of the 
memory increases. Every exertion should be made to 
keep the attention riveted upon the subject in hand — 
whether it be a play or a sermon; but this should be 
maintained only so long as it can be done without fa- 
tigue; when the brain begins to feel wearied, all effort 
to longer concentrate the attention upon the subject 
should cease, and the brain be either allowed to rest, 
or its energies be diverted into other channels, which is 
often quite as beneficial. The poet has well said: 

"Absence of occupation is not rest; 
A mind quite vacant is a mind distressed." 

— and it frequently happens that a complete diversion 
of the thoughts in a different direction is fully as rest- 
ful to the mind as entire passiveness. 

That no memorizing should be attempted when 
strict attention cannot be given, while true in the case 
of reading a book, is especially so in that of witnessing 
a dramatic production or in listening to a discourse, 
for the impressions derived from the two latter sources 
must be taken "on the wing," as it were, while in read- 
ing there is opportunity for reviewing that which the 
mind may not fully grasp at first. The opportunity to 
witness some celebrated play, or to hear some noted 
lecturer or preacher, may occur only once in a lifetime, 

2i 



816 THE ART OF MEMORY. 

and the mind and memory should be so trained as to 
make the most of that opportunity — for what the mind 
and senses may receive on such an occasion, and the 
memory afterwards preserve, can well constitute an 
invaluable and enduring contribution to the fund of 
thought and fancy which the appreciative and provi- 
dent mind is ever acquiring and storing aw^ay in the 
treasury of Memory. 

While it is true that not every one is afforded the 
opportunity to often attend the theatre or listen to 
a lecture, it is also true that with the frequency of 
those opportunities decreases the natural inclination 
to improve them, which can be compensated for only 
by intelligent and persevering effort. Rarity and nov- 
elty inspire curiosity, which begets attention, the great 
key to success in memor^^-culture. Native enthusiasm 
decreases as the surroundings grow more fortunate, 
and the deficiency can be supplied only by intelligent 
effort and constancy of purpose; when this shall have 
been adhered to for a sufficient length of time, it will 
be found that a profound sermon can be recollected as 
easil}^ and perfectly as was a simple play at first. 



CHAPTER XIV. 



ANECDOTE. 



"And without anecdote what is biography, or even history?" 

Lowell. 



The ability to treasure up an anecdote in the mem- 
ory after once hearing or reading it, and to summon 
it forth at an opportune time, is one of the most val- 
uable endowments of the disputant or the converser. 

How pleasurable and stimulating is a conversation 
that is interspersed with spicy anecdotes, especially if 
they are apropos! into what an excellent humor are 
they likely to put the company, and what an added zest 
is given to the conversation! The man who carries in 
his memory a plentiful stock of good anecdotes which 
he can draw upon when the occasion justifies, is rea- 
sonably certain to be considered an acquisition to what- 
ever circle of society he may wish to move in — provided 
that his anecdotes do not have a bitter or ironical al- 
lusion, but are happy illustrations of the topic of con- 
versation, intended to please — not to pain. 

(317) 



318 THE ART OF MEMORY. 

Many a case before a jury has been won through 
the narration of a timely anecdote — many a victory 
achieved on the stump by the sldllful wielding of pun- 
gent witticisms and the telling of entertaining stories. 
Many a dinner-party has been "set in a roar" by the 
utterance of some apposite hon mot — many a mute and 
spiritless gathering exhilarated by a few seasonable 
anecdotes. An apt, well-told story, often accomplishes 
far more than a protracted homily. A pathetic inci- 
dent introduced in a sermon will frequently prove more 
effective than all the reasoning in the rest of the dis- 
course. Illustrations from life, real or imaginary, en- 
gage the attention and excite the sensibilities where the 
most logical arguments and undoubted truths may fail. 

One of the best recommendations of an anecdote is 
its brevity. It is a story boiled down so that its gist 
is brought prominently into view — being engirded by 
only the clothing of language necessary to give the 
story coherency. 

Anecdotes seldom revert to the mind unbidden; 
they are suggested by something else — some other an- 
ecdote or chance remark, usually; even a word may 
suffice to call forth an anecdote which has slumbered in 
the memory for years. For an anecdote to be readily 
revived in the memory some allusion is necessary; if 
one in a company tells a story, that may remind some 
one else of another, which in turn suggests another 
anecdote to a third party — and so on, till perchance 
each of the company finds that he is able to recollect 
several additional anecdotes, and all through Allusion 



LITERATURE. DRAMA. DISCOURSE. 319 

- — each anecdote suggesting others. But even under 
favorable conditions few persons can recall more than 
a small part of all the anecdotes which they have heard 
or read, for the reason that a large proportion of them, 
not having been systematically filed away in the mem- 
ory, are so faintly established in the consciousness as 
to be beyond the possibility of revival. Many of those 
anecdotes the hearer might recognize were he to hear 
them again, but he cannot reproduce them from mem- 
ory — and thus, as far as availability is concerned, they 
are as if he had never heard them. 

If the proper method is adopted, almost any anec- 
dote once heard or read may be indefinitely retained in 
memory, and be always available for use. 

An anecdote is revived in the memory through either 
the similarity or contrast which its essence bears 
to the idea embodied in something else seen, heard or 
read. This idea may always be indicated by a common 
noun; but if the central idea, or some word which sug- 
gests it, be not recollected, the anecdote itself has es- 
caped the memory past recall. Let us illustrate. A 
common noun is a thing: it has definite shape and ap- 
pearance, and is usually a familiar object; an adjective 
represents quality, and a verb SiCtion; the ideas of qual- 
ity or action cannot be grasped by the consciousness 
except in connection with the object or thing to which 
they are related; in order to form a mental image by 
using as a basis an adjective or a verb, an object or 
thing must be invented by the imagination as a found- 
ation for the chosen quality or action. It is thus far 



320 THE ART OF MExMORY. 

easier to form a mental image by using as a basis the 
tiling itself than to work backwards and invent in im- 
agination the thing which must embody certain quality 
or action. A common noun, then, being the substantial 
basis of every mental image, and an anecdote being a 
single scene — a "tale soon told," its dominant idea can 
always be represented by a single word — and that a 
common noun. 

As, then, by the recollection of a single word can 
be revived in the memory the essential details of an 
anecdote, it perforce follows that the most efficient aid 
in the memorizing of anecdotes is the committing to 
and retaining in memory a list of words (common 
nouns) of different meaning and sufficient in nvimber 
to supply a word to associate with each anecdote 
learned. This is the true secret of success in memoriz- 
ing anecdotes — the method is infallible; each tale is 
hung on its proper "memory peg," and can be brought 
forth at will. 

At first thought it may seem that the task is an 
extremely arduous one of committing to memory such 
a number of words that an association can be easily 
formed with every anecdote learned — that even were 
the words once learned many of them would after- 
wards be forgotten, and that the results would not jus- 
tify the labor involved. But experience will demon- 
strate that such is far from being the case; if the words 
are arranged in a systematic manner the task can be 
accomplished with surprising facility. 



LITERATURE. DRAMA. DISCOURSE. 321 

The author has prepared lists of more than four 
hundred common nouns of different meaning, arranged, 
it is believed, in the most advantageous, manner for 
memorizing. All of these lists should be thoroughly 
committed to memory before any associations with anec- 
dotes are formed, and the way in w^hich this can be best 
accomplished is by taking plenty of time in which to 
do the memorizing of each list of words, and fully mas- 
tering it before the next is even looked at. If ten or 
fifteen minutes be spent each day in study and review 
all the lists can easily be learned in a few weeks, when 
the student will be ready for memorizing anecdotes. 

The way to then proceed is as follows: On hearing 
or reading an anecdote which it is desired to memorize, 
take a prominent word therein, suggesting the main 
idea (which word should be a common noun), and go 
over the list mentally until a word is reached to which 
the word selected to represent the anecdote is the most 
closely related in meaning or suggestion; then asso- 
ciate this word with the anecdote, and whenever the 
word is afterwards met with in mentally reviewing the 
list it will at once suggest the anecdote — and thus does 
the latter become a permanent possession of the mem- 
ory. 

When a number of anecdotes are heard on the same 
occasion it is well, while they are yet fresh in the mem- 
ory, to write on a slip of paper the key word in each 
anecdote which it is desired to memorize, and these key 
words can afterguards be associated with the proper 



322 THE ART OF MEMORY. 

words in the lists. It may sometimes happen that one 
word can be used with which to connect several anec- 
dotes; it is suggested however, to avoid possible con- 
fusion, that no more than three or four anecdotes be 
associated with any one word. 

The general plan which has been adopted in ar- 
ranging the lists is as follows: 

First: Words of one and two syllables only have 
been selected; and to facilitate their retention in the 
memory the monosyllables have been put in one place 
and the dissyllables in another. 

Second: The first letter of every word is a con- 
sonant. 

Third: The second letter is a vowel. 

Fourth: The words in each "group'' begin with 
the same consonant. 

Fifth: The first vowel in each of the words in a 
*^set'' is identical. 

Sixth: The first letter in the words of the various 
groups in each list, used in connection with the proper 
vowels, forms an acrostic. (A "list" is intended to 
mean any collection of six or more words having one 
key word or phrase; a "group" includes all the contig- 
uous words in a list that begin with the same consonant 
and which represent one of the acrostical letters or 
words; a "set" consists of any three contiguous words 
in a group of six or more words, whose first and second 
letters are the same; the "sets" are confined to the first 
and second lists of Monosyllables, and the first and 
second lists of Dissyllables.) 



ANECDOTE. 323 

Seventh : Words having the same vowel sound have, 
as far as possible, been placed together, the long sound 
of the vowel, where it occurs, being given first — as a 
in "mate," e in "mete," i in "mite," o in "mote," and u 
in "mute." 

In all cases w and y are excluded. 

Some of the acrostical words and sentences, when 
considered by themselves and without reference to 
their mission, may be thought extremely lacking in 
suggestiveness; but it should be borne in mind that if 
the simplicity of plan is to be preserved, the key words 
must consist of such words as can be constructed out 
of the material available; and if the construction is 
such that the fewest possible number of key words are 
employed, the task of memorizing them is reduced to 
a minimum. Only 31 key words are used to connect 
more than 400 common nouns, all of different meaning 
and having no natural association with each other — 
and if they are rendered easy of memorizing, it matters 
little that the words which link them together may not 
constitute pertinent phrases or sentences. 

In List No. 1 of Monosyllables, it will be noticed 
that there are nine groups, each containing three sets 
of three words each, the second letter in each set of 
words being a, e and i, respectively. 



824 



THE ART OF MEMORY. 



On inserting the proper vowels the first letter in 
each group forms the acrostic 

HONEST PKOBLEM. 

MONOSYLLABLES. 







List No. 1. 






H«il 


Head 


Hive 


H. 


Haze 


Helve 


Hill 




Harp 


Heart 


Hip 


O. 










Nail 


Neck 


Nile 


N. 


Nave 


Nest 


Nine 




Nap 


Nerve 


Nip 


E. 










Saint 


Seal 


Sign 


S. 


Salt 


Seat 


Site 




Saw 


Serf 


Siege 




Tart 


Tea 


Tide 


T. 


Tank 


Tear 


Tie 




Tax 


Tent 


Tile 




Paste 


Pen 


Pine 


P. 


Palm 


Pear 


Pig 




Pawn 


Perch 


Pin 




Race 


Ream 


Rice 


H. 


Raid 


Reef 


Rind 




Raft 


Reel 


Ring 



^py 







ANECDOTE. 




0. 


Babe 


Bead 


Bike 


B. 


Barn 


Beet 


Bill 




Bat 


Bet 


Bit 




Lace 


Leaf 


Lid 


L. 


Lake 


League 


Lift 




Lathe 


Leap 


Link 


E. 










May 


Meal 


Mine 


M. 


Mace 


Meat 


Mite 




Maze 


Mesh 


Mill 



325 



List No. 2 consists of ten groups, each containing 
two sets of three words each, the second letter in each 
set being o and u. 

When the proper Yow^els are inserted, the first letter 
In each group forms the acrostic 

CHAKMED STUDENT. 







List No. 2, 






Coat 




Cube 


c. 


Cone 




Cub 




Core 




Ct^fC 




Hose 




H?<b 


H. 


Hop 




H^/11 




Horn 




Hwt 


A. 









■v..,jp 



326 



THE ART OF MEMORY. 





Roll 


E. 


Rome 




Rope 




Mop 


M. 


Moth 




Moor 


E. 






Dome 


D. 


Dot 




Doubt 




Sore 


S. 


Soup 




South 




Toad 


T. 


Toast 


TT 


Toll 


U. 


Dog 


D. 


Doll 


TT 


Dove 


Jli. 


Nose 


N. 


Note 




Notch 




Top 


T. 


Tooth 




Torch 



Hug 

Hum 

Hut 

M?ite 
Mttsk 
M^<st 

D/m 

Dimce 

Di^sk 

Sifit 

Si^ite 

^un 

Tune 

Tun 

Tu^k 

Dwpe 
D;<ck 
T>uct 

Nt^n 
Nwt 
Ni^rse 

Tuft 
Turf 
Turk 



ANECDOTE. 



327 



In List No. 3 there are eight groups of three words 
each, the second letter in each word being a, and, with 
the proper vowels inserted, the first letter in each group 
forms the acrostic 

CLAM-FED SLAVE. 







List No, 3. 






Cake 




Sack 


c. 


Cab 


S. 


Sand 




Cat 




Sash 




Lass 




Lad 


L. 


Last 


L. 


Lamp 




Lath 




Lance 


A. 




A. 






Mail 




Vane 


M. 


Mate 


V. 


Van 




Map 


E. 


Vault 




Fair 






F. 


Fan 
Fall 






E. 


Dane 






D. 


Date 
Dance 







328 



THE ART OP MEMORY. 



List No. 4 consists of six groups each of tliree words, 
the second letter of each word being o. The first letter 
of the various groups, when the proper vowels are in- 
serted, forms the acrostic 

PLOUGH CAE. 



P. 



L. 

O. 
U. 

G. 



Pole 
Pore 
Pot 

Loaf 
Lock 
Log 



Gong 

Gorge 

Gout 



List No, If, 






Coast 


C. 


Comb 




Coil 


A. 






Eock 


E. 


Eod 




Eouge 



H. 



Hood 
Hook 
Hoop 



ANECDOTE. 329 

In the next five lists attention is called to the fol- 
lowing features: 

There are in each list two groups of three words in 
each group; when the proper vowels are inserted the 
first letter in each group forms the words 

GAME, DALE, SAFE, FANE and GALE, 

respectively, there being four letters in the key word 
representing each list, the second and fourth letter be- 
ing a e in each case. 

The second letter in the words of the first list is a, 
in the second list, e, in the third, i, in the fourth, o, and 
in the fifth, ii. 

These lists are as follows: 





List No. 


J. 


Gage 




March 


Gauge 


A. 


Marsh 


Gag 




Mask 




List No. 


6. 


Deer 




Leash 


Desk 


A 


Leech 


Deuce 




Lent 




List No. 


7. 


Silk 




Fife 


Sill 


A 


File 


Sink 




Film 



E 



E 



E 



330 



THE ART OF MEMORY. 





List No. 8. 


Four 


Nook 


Fork 


A Noon 


Fox 


North 




List No. 9. 


Gum. 


Lime 


Gun 


A Jjiim-p 


Guide 


Liung 



E 



E 



In the following list there are four groups, each 
containing six words. The key word of each group 
consists of four letters, ending in ST preceded by the 
first four vowels in consecutive order. The kev words 
are MAST, PEST, MIST, HOST. 



/ 





List No. 


10. 




Mart 


A 


Safe 


Tail 


Match 


Sail 


Tape 


Pea 


E 


Sect 


Team 


Peg 


Seed 


Text 


Mint 


I 


Sieve 


Tier 


Mile 


S/x 


Tithe 


Hoe 





Soot 


Tow 


Hod 


Sot 


Tower 



ANECDOTE. 



331 



In the next list there are five groups of two words 
in each group; the first letter of the words in each 
group, with the insertion of the vowels o u form the 
word "Four^^ in each case. 

The second letter in the first group is a, in the sec- 
ond group, e, in the third, i, in the fourth, o, and in the 
fifth, u. 







List No. 


11, 






arce 


Fence 


Fib 




Font 


Fwse 
















o 


u 


u 


u 




u 


u 


am 


Eent 


Kib 




Kose 


Eiesh 



In List No. 1 of Dissyllables the same features will 
be noticed that are in the first list of Monosyllables, 
except that there are six groups instead of nine, the 
acrostic being 

• (■' 

FAT LEOPAED. 

DISSYLLABLES. 







List No. 1. 






Failure 


Felon 


Fiddle 


F. 


Farmer 


Fender 


Filter 


A 


Father 


Ferret 


Finger 


J\., 


Tariff 


Teller 


Ticket 


T. 


Tartar 


Tempest 


Tinker 




Tattoo 


Temple 


Tinsel 



23 



382 



THE ART OF MEMORY. 





Ladder 


Lemon 


Light-house 


L. 


Lattice 


Leper 


Lion 




Lava 


Levee 


Lily 


E. 








0. 










Paris 


Pekin 


Pickle 


P. 


Parrot 


Persia 


Picture 




Patent 


Peru 


Pillow 


A. 










Eainbow 


Eeview 


Eiot 


E. 


Eazor 


Eelict 


Einglet 




Eabbit 


Eescue 


Eiver 




Dairy 


Degree 


Dial 


D. 


Dagger 


Depot 


Diamond 




Dandy 


Despot 


Dipper 



The features of List No. 2 are identical with those 
in the second list of Monosyllables, except that there 
are seven groups, instead of ten, the acrostic being 

CEAFTY JUDGE. 



0. 





List No. 2, 




Cobweb 




Ci^ba 


College 




Cwdgel 


Comet 




Cuttev 





ANECDOTE. 




Romance 


E?iby 


E. 


Eocket 


Ei^bber 




Eoorbach 


Ewssia 


A. 








Focus 


Fidcrum 


F. 


Football 


Ft^rlong 




Footstool 


Ftfrlough 




Topaz 


Ttembler 


T. 


Tory 


Tttrkey 




Toilet 


Tt^rtle 


Y. 








Joker 


Juiy 


J. 


Jockey 


Juggleir 




Journal 


Julj 


Uo 




« 




Dogma 


Dublin 


D. 


Dollar 


Difchess 




Dozen 


Dwmb-bell 




Gopher 


Gt^sset 


G. 


Gotham 


Giftter 




Goggle 


Gmnea 


E. 







333 



334 THE ART OF MEMORY. 



List No. 3 is similar to the fourth list, of Monosyl- 
lables, except that there are four groups, instead of sixj 
the acrostic is 

PLEBEIAN. 

List No. S. 

Poem 
P. Porter 
Pocket 

Loadstone 
L. Lobby 

London 
E. 

Bolter 
B. Bombay 

Bottle 
E. 
I. 
A. 

Nomad 
N. Norway 

Nostrum 



ANECDOTE. 



335 



The next five lists are similar to Lists Nos. 5 to 9 of 
Monosyllables. The words formed by the first letter 
in each group, with the proper vowels inserted, are, 
respectively, 

FATE, HATE, SAGE, FACE and PACE. 





List No, 


). 




Famine 






Tablet 


Fashion 


A 




Tallow 


Fathom 






Tavern 




List No, 


0, 




Hebrew 






Tendon 


Helmet 


A 




Tennis 


Herald 






Tenor 




List No. 


6, 




Siphon 






Giant 


Siren 


A 




Gibbet 


Sickle 






Giraffe 




List No. 


7. 




Forceps 






Coral 


Forest 


A 




Colonel 


Forfeit 






Cousin 




List No. 


8, 




Pi/pil 






Cwrler 


Plodding 


A 




Ci^rrant 


Pidpit 






Certain 



E 



E 



E 



E 



E 



336 



THE ART OF MEMORY. 



List No. 9 corresponds with the tenth list of Mono- 
syllables, except that e a are the A^owels inserted, in- 
stead of u, BEAM is the word formed by the first 
letter of the words in each group. 







List No. 9, 






allot 


Bellows 


Bivalve 


Boiler 


Bifshel 


e 


e 


e 


e 


e 



a a a a a 

Maelstrom Meerschaum Mirror Monkey Mifshroom 

List No. 10 consists of six groups of two words in 
each group. The second letter of each w^ord is the 
vowel e. The key word is DEAM SHOP. 





List No, 10, 






Deluge 


Reaper 


A 


Melon 


Debate 


Resin 


J:\. 


Meter 


Sentry 


Heathien 





Pension 


Sewer 


Heron 


Pepper 



As a proper conclusion to this chapter a few anec- 
dotes will now be related, to illustrate the application 
of the foregoing method. 

A certain sea captain w^ho was about starting on a 
long cruise, determined to keep in his log-book a de- 
tailed account of all that happened on the voyage. 
It belonged to the first mate's duties to keep up this 



ANECDOTE. 337 

record, which he did with due regard to all essential 
particulars. One day when the ship was in port the 
mate obtained leave to go ashore for a few hours, and 
the captain agreed to keep up the log-book during his 
absence. The mate improved the opportunity, to get 
drunk, and returned to the ship at night in a decidedly 
hilarious state. Next morning on looking at the log- 
book he found the following entry, in the captain's 
handwriting: 

"First mate was drunk all day." 

He protested to the captain against such an entry 
being made a part of the record, insisting that it might 
injure him. The captain, however, was obdurate, and 
said : 

"Is it not true?" 

"Yes, but it was unnecessary to state it." 

"I consider that it was necessary; I am simply car- 
rying out my purpose to keep an accurate record of 
what occurred on the voyage." 

The mate had to submit, and made no further pro- 
test. The next morning the captain, on looking at the 
log-book, noticed the following entry: 

"The captain was sober all day." 

Filled with indignation, the captain demanded of 
the first mate why he had made such an entry. 

"That is the truth, isn't it?" 

"Of course it is; but there w^as no use of stating it." 

"But, sir, I was simply carrying out your instruc- 
tions to keep a full record of everything that happened 
on board!" 



338 THE ART OP MEMORY. 

— The most significant word in the above anecdote 
is "Log," which will be found in List No. 4 of Monosyl- 
lables and second group. 

Some years ago, during a season of unusually cold 
weather at a frontier army post, the commanding officer 
directed that limited rations of whiskey be issued to 
his men. This order was by no means displeasing to 
the garrison, and all went well until one day a soldier, 
whom we will call Pat Maloney, was put in the guard- 
house because of intoxication. The quantity of whis- 
key allotted to each man was insufficient to produce 
such a result, and a few inquiries developed the fact 
that the soldier had stolen the ration of a comrade. 
The commanding officer ordered the private to appear 
before him on the charge of stealing. Pat promptly 
appeared, and denied that he had stolen the w^hiskey, 
but admitted drinking the double allowance, and his 
subsequent drunkenness. When ordered to explain 
Pat delivered himself in this wise: 

"Now, sir, ye see, it was this way: Mike Rafferty 
axed me to git his rations, an' I had me own requisition 
an' only wan bottle, an' so Mike's ration had to be 
poured atop o' mine. Now, sur, how could I help me- 
self ? Me own whiskey was in the bottom o' the bottle, 
an' how could I get at it but by dhrinkin' Mike's first? 
I lave it to yees if that was a stalin' !" 

— This anecdote would be easily suggested by the 
word "Bottle," which will be found in List No. 3 of Dis- 
syllables and the third group. 



ANECDOTE. 339 

Here is an incident that is said to liave happened 
during the civil war: 

A zealous chaplain called on a certain Colonel, bet- 
ter noted for his bravery than his piety, to talk about 
the religious interests of his men. 

"Colonel," said he, "from all accounts you have a 
brave lot of men in your regiment." 

"Well, sir, I think I have." 
. "Do you think their religious instruction is fully 
observed?" 

"Well, I can't say as to that, sir." 

"A great interest has been awakened in Col. Brown's 
regiment, and ten men have been baptized." 

"Is that so?" asked the Colonel. 

"Yes, Colonel, it is true." 

"Sergeant, have fifteen men detailed to be baptized; 
I'll be hanged if Col. Brow^n shall get ahead of me!" 

— The word "Eiver" would recall this anecdote; it 
will be found in List No. 1 of Dissyllables, the fifth 
group and third set. 

In the old slavery days a darkey had a habit of ap- 
propriating one of his master's turkeys every now and 
then, for his Sunday dinner. He was caught one day 
and brought before his master, who said sternly : 

"Sambo, did you steal that turkey?" 

"Well, sah, I can't 'zactly say ez I did steal it, but I 
took it, sah." 

"What did you mean by taking what didn't belong 
to you?" 



340 THE ART OF MEMORY. 

"Well, massa, I didn't see ez dar was any harm in 
takin' it; it was only changin' de form of massa's prop- 
erty — he has less turkey, but moah niggaliP^ 

— The most important word in this anecdote is 
"Turkey." It will be found in List No. 2 of Dissyl- 
lables, the fourth group and second set. 

An Irishman, whose chief occupation was poaching, 
was being tried by a jury for stealing a goose. He was 
about to be convicted on circumstantial evidence, when 
a brother poacher, also an Irishman, appeared and tes- 
tified that the goose was his, and had been ever since 
it was a gosling. This testimony was so positive that 
the jury had to bring in a verdict of acquittal. 

Some time afterwards poacher No. 2 was arrested 
and brought to trial on the charge of stealing a gun. 
Just in the nick of time his friend appeared and whis- 
pered in his ear: "Don't yez be afraid, Pat, I'll get ye 
off;" whereupon he went into the witness-box and testi- 
fied that the gun was his and had been ever since it was 
a pistol! 

— The word "Gun" would certainly recall the above 
anecdote; it is in List No. 9 of Monosyllables, and the 
first group. 

A man in Texas was accused of stealing a horse. 
The supposed culprit was promptly tried, found guilty 
and lynched. Scarcely had this been done when the 
lynchers found, to their horror, that they had hanged 
the wrong man. Filled with remorse they started at 
once for the home of the widow to break the sorrowful 
news as gently as possible and implore forgiveness. 



ANECDOTE. 341 

Arriving at the house the party entered, and the chair- 
man, twirling his hat in his hand and very much em- 
barrassed, accosted the widow thus : 

"Marm, we've jest hung your husband fur stealin' 
a hoss, an' come to find out, he aint the right man. 
Thar aint no use o' talkin', niarm, the joke is on us I'' 

— What more suggestive word to revive this anec- 
dote than '^Gibbet;" which is in List No. 6 of Dissyl- 
lables and the second group. 

Here is another story of a somewhat similar char- 
acter: 

A premature explosion in a quarry killed one of the 
workmen. One of his comrades was detailed to break 
the sad news to the widow, and was expressly cautioned 
to do so in as delicate a way as possible, as she was 
known to be a very tender-hearted woman. Keaching 
the home he spoke thus: 

"Did ye hear that foine blast, mum?" 

"Indade I did, and it frightened me." 

"Sure, mum, and I wish I had been here to purtect 
yez; it's a foine woman like ye I'd like to purtect as 
long as I live, so I would." 

"Wot do ye mane by talkin' like that, an' me mar- 
ried to a foine man like Mike Flannigan?" 

"Och, an' ye needn't moind about him any more, 
mum — he was killed by the blast!" 

— The word "Fuse would, easily suggest the above 
anecdote; it is in List No. ik of Monosyllables and the 
fifth group. 

The story is told that Benjamin Franklin once ar- 



342 THE ART OF MEMORY. 

rived at an inn on horseback, on a very cold day. Hitch- 
ing his horse, he went inside to warm himself, but 
found that he could not get anywhere near the fire, every 
chair being taken. Turning to the hostler, he said: 
^'I wish you would get half a peck of oysters in the shell, 
and feed to my horse." All the occupants of chairs at 
once rushed out to see the horse eat oysters. The hostler 
soon returned and said: "Why, sir, your horse won't 
eat the oysters at all!'' 

"Is that so?" said Franklin, now comfortably seat- 
ed at the fireplace; "He don't know what's good; bring 
'em to me then and I'll eat 'em!" 

— In List No. 9 of Dissyllables, and the third group, 
will be found the word "Bivalve," which is certainly 
suggestive of the above anecdote. 

Sydney Smith once presided at a meeting held to 
raise a fund to complete a church. Just before the 
contribution plates were passed around, the distin- 
guished divine made an earnest appeal, stating the 
urgent necessities of the case, and concluded by com- 
plimenting Englishmen on their liberality and love of 
their species. The appeal did not meet with a very 
generous response, however, and as the witty minister 
glanced at the lean looking plates, he arose and said: 

"I desire to correct a statement made a few mo- 
ments ago; I should have said that Englishmen are 
noted for the love of their specie T^ 

— The word "Dollar" would recall this anecdote to 
mind; it will be found in List No. 2 of Dissyllables, the 
sixth group and first set. 



ANECDOTE. 343 

A prominent merchant in a certain city was impor- 
tuned by his two hopefuls, aged respectively eight and 
ten years, to buy them a dog, the chief reason urged 
being that they would train him to be a good watch- 
dog. The father finally consented and the dog was 
duly procured, the boys forthwith taking the most live- 
ly interest in his training. One evening not long after- 
ward, the father happened to be out, and returned un- 
usually late. The night was dark, and on reaching 
home he was greeted in the most energetic fashion by 
the dog, who treated him with such marked discourtesy 
that he was confined to the house for several days. On 
the day after the adventure, one of his business part- 
ners called to inquire if any mishap had befallen him. 
He was met at the door by one of the youthful dog 
trainers, who told him the particulars of the unfortu- 
nate occurrence, upon which the caller expressed his 
regret at the mishap, and remarked that it was a most 
unpleasant experience for the father. 

^'Yes,'' said the enterprising youth, "it was pretty 
tough on dad, of course — but then, you know, it was 
great practice for the dog!" 

— Surely nothing could be more suggestive of this 
anecdote than the word "Dog," which will be found in 
List No. 2 of Monosyllables, the eighth group and first 

set. 

A story is told of a Hebrew gentleman on his death- 
bed. His physician was in attendance and had just 
conveyed to his patient the unwelcome tidings that his 
case was hopeless. 



344 THE ART OF MEMORY. 



ii- 



'Vell, doctor," said the latter, "if I must die, I die 
gontendet anyhow — my life vas insuret for ten tousand 
dollars/' 

'^Well, that will leave your wife and family in very 
comfortable circumstances, the assurance of which will 
of course be a great comfort to you. Now, by admin- 
istering powerful tonics I can probably keep you alive 
for a week or so longer.'' 

"For Heaven's sake, doctor, don't do it; der bremium 
comes due der day after to-morrow !" 

— The above anecdote will be readily recalled by 
the word Hebrew, which occurs in List No. 5 of Dissyl- 
lables, and the first group. 

An Irishman was arrested on the charge of commit- 
ting some grave criminal act, and on being brought be- 
fore the court felt very uneasy, and complained bitterly 
that he should be placed in such an awkward position 
so far from his home and friends. The Judge, a very 
kind-hearted man, said to the prisoner: 

"Young man, you are arrested on a very grave 
charge, but you can rest assured, although among 
strangers, full justice will be done you." 

"Upon me word," groaned Pat. "an' it's the fear of 
that same that throubbles me!" 

— This anecdote would be easily revived through 
the word "Felon," which may be found in List No. 1 of 
Dissyllables, the first group and second set. 

An Irish student, who was attending the University 
of Edinburgh, called upon a celebrated teacher of the 
harp, and asked his terms for giving a few lessons. The 



ANECDOTE. 345 

harp-teacher told him that his customary charges were 
two guineas for the first month and one guinea for the 
second. 

"Then, be me sowl/' replied the quick-witted Hi- 
bernian, "I'll come in the second month!" 

— The word "Harp'' would suggest this anecdote; it 
will be found in List No. 1 of Monosyllables, the first 
group and first set. 

A well-to-do Kentuckian, who was interested in 
quite a number of industries, among them being that of 
running a distillery, was attending church one Sunday, 
when the minister preached a powerful sermon against 
the evils of intemperance. After the services were 
over, one of the Kentuckian's friends approached and 
said: 

"Well, Colonel, the preacher gave a pretty strong 
talk on a subject that interests you, didn't he?" 

"Oh! well, I didn't mind that — It's a mighty poor 
sermon that don't hit me somewhere!" 

— This anecdote would be remembered by the word 
"Rum," which is in List No. 2 of Monosyllables, the 
third group and second set. 

In a crowded tavern a Judge and an Irishman were 
obliged to occupy the same bed. 

"Well, Pat," said the Judge; "you would have had 
to stay a long time in Ireland before you could have 
slept with a Judge." 

"Yes, an' yer honor would have to stay a long time 
in Ireland afore you'd ha' hen a Judge!" 

— The word "Tavern" would easily suggest the 



346 THE ART OF MEMORY. 



^ 



above anecdote; it will be found in List No. 1 of Dis- 
syllables, and the second group. 

"Is your father at home?" asked a man of a boy. 
"No, he's down town, but you'll find the grindstone 
out in the shed.'' 

"Why, I don't want to use the grindstone; what 
makes you think I did?" 

"Oh! because pa says you never come here unless 
you have an axe to grind!" 

— This anecdote would be easily suggested by the 
ivord "Helve," which is in List No. 1 of Monosyllables, 
the first group and second set. 

A certain wag who was somewhat awkward 'in his 
movements, when at a ball was accosted by a man in 
a state of intense excitement, who said: 

"Sir, you stepped on my partner's foot just now, and 
I demand satisfaction!" 

"All right; my wife sits over there; you can go and 
step on her foot!" 

— The word "Dance" would recall the above anec- 
dote; it will be found in List No. 3 of Monosyllables 
and the fifth group. 

The foregoing anecdotes will illustrate the method 
of memorizing anecdotes which has been set forth in 
these pages. It is not to be supposed that the lists 
given will always contain the precise word which is 
the duplicate of the key-word representing the anec- 
dote — it is not necessary that they should: a simple 
Musion will impress the anecdote on the memory so 



ANECDOTE. 347 

that it may be recalled at will. Thus, if an anecdote 
were told about a horse, the word "Jockey'^ would be 
a sufficient allusion; ''Dairy" w^ould be an ample re- 
minder of a story about a cow; ''Cutter" would suggest 
snow; "Hull" would suggest a ship; "Hive" would re- 
mind one of bees or honey; "Curler" would suggest ice, 
and "Hop" ale or beer; "Focus" would indicate a tele- 
scope, and "Loadstone" a compass; "Last" would sig- 
nify a shoe, and "Goggle" an eye; "Pawn" would sug- 
gest chess, and "Mite," cheese; "Razor" would indicate 
a barber, and "Nostrum" a doctor; "Gong" would sug- 
gest a bell, "Rut" a road, and "Toll" a bridge or ferry; 
*'Lent" would refer to any denomination w^hich ob- 
serves it; the name of a city will suggest the country 
in which it is located — or that of a country an inhabit- 
ant of it. 

One thing may also suggest its opposite; thus a 
dwarf may be indicated by "Giant," a teacher by "Pu- 
pil," or a vassal by "Despot;" "Noon" would signify 
midnight, and "July," January; "Tear" might suggest 
a smile, "Doubt," certainty, and "Farce" a tragedy; 
^'Gorge" would indicate a mountain, "Forest," a plain, 
and "River" a brook; "Dome" would refer to a cellar, 
^'Hut" to a mansion, and "Famine" to a feast; a zephyr 
would be suggested by "Tempest," genius by "Dunce," 
success by "Failure" — and so on. 

It may sometimes happen that either one of several 
words w^ould answer to form an association with an 
anecdote, and it may be thought that confusion would 

26 



348 THE ART OF MEMORY. 

be likely to result on that account — but such is not 
the case; each anecdote becomes identified, not only 
with the word itself, but also with its location in the 
particular list to w^hich it belongs, and as the word is. 
recalled the proper anecdote with which it is associated 
is at once recognized. 

Through the aid of these lists Riddles, Charades, 
Conundrums, etc., may also be memorized, and he who 
wishes can easily carry in his memory a suppl}^ ample 
for all occasions. 

The student can rely implicitly on the entire practi- 
cability of the foregoing method; it has undergone the 
most thorough experiment, and has proved to be the 
only reliable method of accomplishing the desired pur- 
pose; without this method, or one similar to it, com- 
paratively few anecdotes can be effectually retained 
in the memory, and those can be brought forth only by 
aid of a chance allusion now and then; with it, every 
anecdote that has ever been memorized can be recalled 
at will. 



CHAPTER XV. 



DICTION. 



"I can repeat whole books that I have read, and poems of some 
selected friends, which I have liked to charge my memory with." 

Ben Jonson. 

"It is impossible for a man to be a great writer or speaker with- 
out a great memory; and it must have, besides other qualities, that 

of being a verbal one." 

Prof. Mathews. 



Memory of Diction, or "Verbal" memory, is the 
power of recollecting anything uttered or written, in 
the precise diction in which it was originally heard 
or read. While the term "Verbal Memory'' may in- 
clude, in its general application, all spoken or w^ritten 
language, of whatever form, character, or quality, yet 
it will be here applied only to that class of literary 
production which is of more than ordinary merit and 
worthy to be treasured in the memory in its exact 
terms. 

A memory replete with noble and beautiful 
thoughts culled from the teeming treasury of litera- 

(349) 



850 THE ART OF MEMORY. 

ture, cannot but confer on its possessor a perennial 
inspiration and delight beyond the power of language 
to portray. Who that can recall word for word even 
a few of the rare gems of literature does not earnestly 
wish that he were equally familiar with many more? 
Happily, in the memorizing of the choice thoughts of 
master minds desire increases with acquisition, and as 
new treasures are gained the mind expands and its 
best impulses are quickened. He who has garnered 
in his memory an abundant store of precious thoughts 
and glowing fancies, may well felicitate himself that 
the effort which he has thus devoted to the enrichment 
of his mind will be compensated for an hundred-fold 
throughout the years of life. Often in moments of 
sweet communion with the past there will be mirrored 
in the imagination the subtle thought, the glowing 
sentiment, the gorgeous imagery that once burst forth 
from the soul of genius into living language, to never 
be obliterated from the page of literature or the mem- 
ories of men, but to ever shine resplendent in the realm 
of Thought and Fancy through the untold years of 
Time. 

Only the best and greatest products of the human 
intellect deserve a permanent place in the memory; 
they may be serious, or they may be humorous, so that 
they are of the best of their kind. The mission of the 
humorous is to divert, that of the serious is to exalt; 
the former may soothe and cheer the heart that is 
weary or sad, the latter expands the sensibilities; it 



DICTION. 351 

exalts, it inspires; it furnishes food for profound reflec- 
tion; it unfolds the higher powers of the mind and 
heart. 

There are some people in whom the possession of 
good ^^verbal memory'' seems inherent; they can "learn 
by heart" with ease, and their power of retention is 
such that they are able to reproduce, almost at will, 
with scarce an exception, everything which they have 
ever committed to memory. Others have great diffi- 
culty in recollecting in its exact terms anytliing which 
they have read, although they may be able to recall 
the suhstance of what they read quite distinctly. It 
seems as if a strong imaginative faculty is a prerequi- 
site to the possession of good "verbal memory,'' that 
the two are inseparably related; it is at least certain 
that the gift of good "verbal memory" is almost in- 
variably associated with a lofty sense of the noble and 
beautiful in language, with a love of tender sentiment, 
of profound thought, of all that constitutes grace and 
grandeur of expression; it is also true that a weak 
verbal memory can be strengthened to a surprising 
degree, which must also expand the capacity of appre- 
ciating the power and the beauty of form into which 
language can be moulded. Actors, elocutionists, and 
opera-singers, from the nature of their vocation, ac- 
quire great proficiency in the art of "Verbal Memory;" 
and not a few lecturers, ^clergymen, and others who 
speak in public memorize their discourses throughout, 
which may be considered the very acme of proficiency 



352 THE ART OP MEMORY. 

in the art of ^'Verbal Memory," as it is commonly much 
less difficult to memorize another's thoughts than 
one's own, the familiarity with the latter being a hin- 
drance rather than a help, to their memorizing. 

In ancient times, when there were few writings, 
most remarkable memory powers were often attained. 
The Eig-Vedas, the sacred book of the Brahmans, con- 
taining more than 150,000 words, were preserved 
orally, and handed down from generation to generation 
in the same manner for thousands of years, and to-day 
there are many thousands of Brahmans who, if all the 
written copies of the Hindoo religious books should 
be destroyed, could replace them from memory, word 
for word. 

In modern times many instances are recorded of 
strong powers of ^^verbal memory," and it will be in- 
teresting to cite some of the most notable examples. 

Thomas Fuller was known as a "perfect walking 
library." It is said that he could repeat five hundred 
disconnected words after hearing them twice, and a 
sermon after one hearing. 

The distinguished Wesleyan divine, Adam Clarke, 
had such a phenomenal memory, even when a boy, that 
after listening to a sermon lasting an hour he could 
go home and repeat the whole, word for word. 

Bishop Jewell, who lived in the sixteenth century, 
could repeat anything that he had written, after one 
perusal. He was known to commit his whole sermon 
to memory after the first church bell had commenced 
ringing. 



DICTION. 853 

John Wyndham Bruce, a noted classical scholar, 
knew all the plays of ^Eschylus by heart, and could 
name from memorj^ the exact location of any line in the 
Odes of Horace. 

Rev. E. Coleridge memorized the entire works of 
Homer, Horace, and Virgil. 

Gilbert Wakefield, a theologian and savant, knew 
by heart the works of Virgil and Horace, nearly all of 
Homer and Pindar, and entire books of the Old and 
New Testament. 

It is stated on the authority of Rev. B. J. Johns, 
chaplain of the Blind Asylum, London, that a young 
man who was an inmate of the institution could repeat 
not only the whole of the 150 Prayer-book Psalms and 
a large number of other psalms and hymns, but also 
a great many modern poems, including Goldsmith's 
^'Deserted Village,'' and the whole of ''Paradise Lost," 
with all the marginal notes and Milton's biography. 

Francisco Suarez, a noted Jesuit, author of several 
religious and philosophical works, is reputed to have 
known by heart the whole of St. Augustine's writings, 
comprising eleven large folio volumes. In a sketch 
of Suarez' life which accompanied his works, it is 
stated that if any portion of St. Augustine were mis- 
quoted in his hearing he could at once, from memory, 
give the correct quotation and its location, no matter 
what the subject might be. 

Lord Macaulay, on one occasion when crossing the 
Irish Channel, repeated to himself the whole of 'Tara- 



354 THE ART OF MEMORY. 

dise Lost.'' At another time, while waiting for a post- 
chaise, he happened to pick up a country newspaper 
containing two poems, named ^^Reflections of an Exile," 
and ^^Parody on a Welsh Ballad." He read them 
through once, and never gave them a further thought 
for forty years, when he repeated them both without 
the omission of a single word. 

Dr. Samuel Johnson had a power of ^^verbal mem- 
ory" that often astonished his best friends. His friend 
Dr. Hawkesworth had just completed a poem called 
"Ode on Life." Being invited to visit a friend in the 
country, he took the poem with him, for the purpose of 
reading it to his friends and re-touching it where neces- 
sary. Dr. Johnson was also one of the party, and the 
author read the poem to him and asked his opinion of 
it. The doctor replied that he couldn't properly de- 
termine on hearing it read once, and requested a sec- 
ond reading. Dr. Hawkesworth complied, after which 
Johnson read the poem himself, complimented the 
author very highly and returned it. While at break- 
fast the next morning the subject of the poem was 
naturally a prominent topic of conversation, and John- 
son, after expressing his hearty admiration of it, said 
that he had only one criticism to make, which was that 
he had doubts of its originality. Hawkesworth, feel- 
ing very much nettled, challenged his friend for proof 
of the truth of that assertion, who thereupon repeated 
the whole poem (which was not a short one), omitting 
only a few lines. On being asked what he had to say 



DICTION. 355 

now, Hawkesworth replied: "I have only this to say: 
that I shall never again recite a composition of mine 
in your presence, for you have a memory that would 
convict an author of plagiarism in any court of litera- 
ture in the world!'' 

Pierre Gassendi, a French philosopher, who was ap- 
pointed professor of rhetoric at Digne, at the age of six- 
teen could recite 6,000 Latin verses from memory. As 
an exercise he used to repeat every day 600 verses 
from different languages. 

Antoine Muretus, a noted French humorist, tutor 
to Montaigne, relates that in the course of his travels 
about Europe he met at Padua a young Corsican 
named Molino, who was prosecuting his law studies 
at the university, and was reputed to possess an ex- 
traordinary gift of memorizing disconnected words. 
Molino consented willingly to undergo a test of hi^ 
powers, to be applied by three distinguished Venetians. 
The young Corsican stood all the while with his atten- 
tion deeply fixed and his eyes half closed. They read 
to him Latin and Greek; barbarous, significant, and 
non-significant words until wearied. Molino without 
the slightest hestitation repeated them all correctly, 
both forward and backward. Then, to show how thor- 
oughly his memory had retained every word, he re- 
peated each alternate word — the first, third, fifth, 
and so on, until his listeners were thoroughly con- 
vinced that the reports which had reached them con- 
cerning the young Corsican's powers had not been ex- 



-356 THE ART OF MEMORY. 

aggerated. He then stated that he could memorize 
36,000 disconnected words and retain them a year. On 
being questioned as to how he had developed such a 
wonderful faculty, he replied that he had learned the 
art from a French teacher on mnemonics. 

Coming down to more recent times we learn that 
Justice Story, Clay, Calhoun, Sumner, Edward Ever- 
ett, Wendell Phillips, Secretary Stanton, Conkling, 
Blaine and other distinguished men had remarkable 
verbal memories. Stanton could repeat any named 
chapter from almost any of Dickens' books. One of 
Judge Story's intimate friends said that his brain was 
a "gigantic reference library." Conkling could repeat 
selections from the classics by the hour. His principal 
speeches were carefully committed to memory, the 
memorizing of his great speech in New York during 
the Garfield campaign being an especially wonderful 
achievement. 

Blaine generally knew, before delivering an impor- 
tant speech, exactly what he was going to say and 
how he was going to say it. On the occasion of his 
last appearance in Eochester, New York, he sent for an 
expert stenographer, who came to Mr. Blaine's private 
room in the hotel, where the ex-Secretary, slowly pac- 
ing back and forth in the room, deliberately thought 
out and dictated a speech. A type- written copy of the 
reporter's notes was taken to the newspaper offices, 
and a few hours later the distinguished statesman de- 
livered the speech, word for word, as previously re- 



DICTION. 357 

ported. Between the time when the speech was dic- 
tated and its delivery, Mr. Blaine received many call- 
ers, and his thoughts were more or less diverted in 
other ways, but his memory did not fail him in the 
slightest. Blaine often repeated whole bills under dis- 
cussion, after one reading. 

Col. John E. Fellows had a phenomenal memory. 
In the most prolonged and intricate cases he took no 
notes whatever of the testimony, depending entirely 
on his memory to review the same at the proper time, 
which he invariably did with the most unfailing accu- 
racy. He possessed a remarkable verbal memory also. 
Scott was his favorite author, from whose works he 
could quote, off-hand, for hours at a time. He could 
recite the whole of ^'Marmion'' and '^Lady of the Lake,'' 
which he had committed to memory in two or three 
readings. 

In June, 1896, John G. Carlisle, Secretary of the 
Treasury, delivered an address at the Auditorium in 
Chicago, which consisted of nearly 10,000 words, in- 
cluding numerous and extensive marshalings of groups 
of figures, setting forth many columns of percentages 
and requiring for its argument ratios and equations 
relating to wages, values of commodities, the fluctua- 
tions of currency, and voluminous statistics affecting 
labor and life in various countries. The address was 
delivered without reference to manuscript, or even to 
notes, except in two instances of minor importance, 
and was delivered without hesitation, in an earnest 



858 THE ART OF MEMOKY. 

and forcible manner. The entire speech was in print 
before Mr. Carlisle appeared on the platform, and not 
a word was altered in the delivery. 

In the same year a revivalist named William Cul- 
len Hicks astonished the people in various parts of 
Kentucky, where he was preaching, by his familiarity 
with the Bible. He could recite the whole Bible, with 
the exception of the Psalms. He could start at any 
part of any chapter and go either forward or back- 
ward without hesitation. 

An instance of remarkable precocity is that of Ethel 
Carroll, of Oakland, Cal. In 1896, when four years of 
age, she was taken to an entertainment and after its 
conclusion was asked if she remembered a certain reci- 
tation, remarkable for its length and beauty; without 
the slightest hesitation she recited the whole piece cor- 
rectly. She can recall, weeks and even months after- 
wards, every word of a conversation, however long, 
including all the names, dates, and figures mentioned. 

Many other examples of strong "verbal memory" 
might be given, but the above will suffice for purposes 
of illustration. In considering the cultivation of Mem- 
ory of Diction, one of the first questions to arise is: 
"Which is the less difficult to memorize. Poetry or 
Prose?'' Poetry is memorized with less difficulty than 
Prose, for two reasons: Poetry has Ehyme and Ehythm 
— neither of which is possessed by Prose. Poetry will 
therefore be considered first. In order that the student 
may prosecute intelligently and systematically the 
study and practice of memorizing poetry, he should 



DICTION. 359 

be well acquainted with the details of poetical form 
and construction — an outline of which may be useful 
to some students and is here given. 

Poetry may be divided into two classes, Verse and 
Blank Verse. 

Verse is metrical language which rhymes. 

Blank Verse is metrical language without rhyme. 

Verse possesses three properties: Ehythm, Meter, 
and Khyme. 

Ehythm is the periodical recurrence of accent. 

Meter is the measure of such accent. 

Ehyme is repetition of sound in the last accepted 
syllables or words in two or more lines of a stanza. 

Every line of Verse consists of one or more divi- 
sions or measures, each properly containing one ac- 
cented syllable or word, together with either one or 
two unaccented syllables or words. Each of such 
divisions is termed a Poetical Foot; the number of 
poetical feet in each line of a stanza in Verse deter- 
mines the kind of Meter. 

There are four kinds of Poetical Feet: the Iambus, 
the Trochee, the Anapest and the Dactyl. 

An Iambus consists of two syllables, the second one 
being accented, as Delay, Convey. 

A Trochee consists of two syllables, the first one 
being accented, as Tempest, Sunshine. 

An Anapest consists of three syllables, the last one 
being accented, as We rejoice; It is night. 

A Dactyl consists of three syllables, the first one 
being accented, as Beautiful, Theatre. 



860 



THE ART OF MEMORY. 



There are also other poetical feet — such as the 

Spondee, which consists of two long syllables, as Dark 

days — the Pyrrhic, consisting of two short syllablesr— 

and others seldom used. 

The various kinds of meter are as follows: 

Monometer is a line of one foot, as: 

Fearfully, 
Tearfully, 

Dimeter is a line of two feet, as: 



'Touch her not 
Think of her 



scornfully, 
mournfully;" 



Trimeter is a line of three feet, as: 



'I am out I of human 
I must tin ish my iour 



ity's, reach, 
ney alone;" 



Tetrameter is a line of four feet, as : 

"There is no death! the stars go down 
To rise upon some fair er shore;" 

Pentameter is a line of five feet, as: 



'Tnie wit 
What oif t 



IS na 

was thought, 



ture to ] advan | tage dresised, 
but ne'er ! so w^ell 1 expressed." 



Hexameter is a line of six feet, as: 



'His heart 
He sits 



is sad, 

and mourns 



his hope 
in si 



IS gone, 
lent grief 



his light 
the ling' 



is passed; 
ring day." 



Heptameter is a line of seven feet, as: 

tie boat 



'•Loud hissed 
But fast 



the sea 
er still 



beneath 
the rush 



her lee, 
ing storm 



my lit 
came borne 



upon 



Octometer is a line of eight feet, as: 



And the 


Raven, 


never 


flitting, 


still is 


sitting, 


still is 


On the 


pallid 


bust of 


Pallas, 


just a 


bove my 


chamber 



flew fast; 
the blast.'" 



sitting 
door." 



DICTION. 



361 



Each of the forms of meter above named refers to 
a single line of verse, and no more — the number of feet 
in one line not necessarily being the same as in an- 
other. 

In Iambic Verse there is what is known as Long^ 
Short, and Common Meter, the terms being used chiefly 
in connection with church music, a stanza consisting 
of either four or eight lines — usually the former. 

A Lono- Meter stanza contains four feet in each 
line, as: 



'Oh! ev 


er thus, 


from child 


hood's hour 


I've seen 


my fond 


est hopes 


decaj-; 


Inev 


er loved 


a tree 


or flower 


But 'twas 


the first 


to fade 


away." 



In a Short Meter stanza the two first lines and the 
last contain three feet each, and the third line four 



feet, as: 






"Beyond 


this vale 


■of tears 


There is 


a life 


above. 


Unmeas 


ured by 


the flight 


And all 


that life 


is love." 



of years; 



In a Common Meter stanza the first and third lines 
contain four feet each, and the second and fourth lines 
three feet each, as: 



AJi, hap 


py hills ! 


ah, pleas 


ing shade! 


Ah, fields 


beloved 


in A^ain ! 




Where once 


my care 


less child 


hood strayed, 


A stran 


ger yet 


to pain!*' 





A poem is rarel}^ found which is absolutely free 
from all irregularity to its Ehythm, Meter and Khj^me: 
There are lines in which the rhythm is not entirely uni- 



362 



THE ART OF MEMORY. 



form, or where there is either an excess or lack of syl- 
lables — or there may be other irregularities. This does 
not necessarily indicate, however, that a lack of talent 
or genius is evinced in the composition of the poem; 
the vocabulary of the language may be insufficient to 
meet the demands of perfect versification — and thus 
advantage must needs be taken of poetical license, 
which by universal agreement, requires, and is given, 
the widest possible range. 

The following are examples of perfect verse, in each 
of the four kinds: 



'Here rests 


his head 




upon 


the 


lap 


of earth, 


A youth 


to for 

— 

ence frowned 


tun-e and 
not on 


to fame 
his hum 


unknown; 


Fair Scl 


ble birth, 


And mel 


anchol 


y marked 


him for 


her own." 


"Fare thee 


weel, thou 


first and 


fairest! 


Fare thee 


weel, thou 


best and 


dearest ! 


Thine be 


ilka 


joy and. 


treasure. 


Peace, en 


ioyment. 


love, and 


pleasure." 


"When I think 


of my own 


nat 


iveland, 


In a mo 


ment I seem 


to 1 


3e there!" 


"Malve no deep 


scrutiny 






lnt< 


D h 


er 




mutir 


ly:" 







The examples are legion in poetry of the first order 
in which some of the features belonging to perfect verse 
are wanting; but the beauty and grandeur of the senti- 
ment amply compensate for all deviation from strict 
form. The limitations to perfect poetical expression 



DICTION. 363 

are so severe that the composition in faultless meter 
of a worthy poem of ordinary length, is hardly pos- 
sible of accomplishment; and there is a just limit, too, 
to the sacrifice of thought to form; if the rules of rhyme 
be not violated and there be a proper distribution of 
accent, the addition or omission now and then of a syl- 
lable from an exact metrical arrangement, and even the 
occasional adoption of certain other forms of poetical 
license, do not impair the real worth of the poem; these 
very deviations from a strict standard may, if care- 
fully noted, be utilized both in the impression of the 
poem on the memory, and its recollection in the future. 

Generally speaking, Iambic is the most natural and 
majestic of the various kinds of Yerse, and it contains 
less technical imperfections than any other form. 

Khythmical Prose is almost invariably written in 
Iambic, as the works of Shakespeare and other great 
dramatists amply illustrate — that being the only form 
which is adapted to the production of such class of lit- 
erature. 

In Iambic Verse it not infrequently happens that 
the first foot of a line is a Trochee, the accent being 
reversed, as: 



•'Errors 
He who 



like straws 
would search 



upon the 
for Dearls 



sur 
must dive 



face flow: 
below." 



Next to Iambic, Trochaic Verse is perhaps the most 
€ommonly employed; it is somewhat more difficult to 
compose than Iambic, the vocabulary of rhyming 
w^ords being much less in the former case than in the 

27 



364 



THE ART OF MEMOEY. 



latter on account of the difference in accent. In pure 
Trochaic verse the last foot of each line must usually 
consist of a dissyllable — while in Iambic it may be com- 
posed of either one or two words, and is quite as likely 
to be one as the other; thus there is a much larger 
list of rhyming words to select from in the latter case. 
In Trochaic Yerse, as it is generally written, the 
last measure of the even lines contains only one syl- 
lable, which renders the rhythm more euphonious than 
if every line ended with a full Trochee. The follow- 
ing illustrates the form of Trochaic Yerse most com- 
monly used: 



"EngiaDd's 


sun was 


slowly 


setting 


O'er the 


hills so 


far a 


way, 


Filling 


all the 


land with 


beauty, 


At the 


clo®e of 


one sad 


day." 



Sometimes the odd lines end also with a foot con- 
taining only one syllable, which is called "Single- 
rhymed" Trochaic, as: 

"One kind 
Drop a 
Though we 



Till we 



kiss he 


fore we 


tear and 


bid a 


sever. 


my fond 


meet shall 


pant for 



part, 
dieu; 
heart 
you." 



Among the examples of perfect Trochaic Yerse 
without rhyme, perhaps the most notable is Longfel- 
low's "Hiawatha," an extract from which is here given: 

"Thus departed Hiawatha 
To the land of the DacotaJis, 
To the land of handsome women; 
Striding over moor and meadow 
Through interminable forests, 
Through uninterrupted silence." 



DICTION. 



365 



Anapestic Yerse, while perhaps more difficult to 
compose than Trochaic, is much less so than Dactylic. 
In the former case the measures are u.sually complete, 
although it is allowable for the first foot of an Ana- 
pestic line to be an Iambus, as: 



"So sweet 
I thought 



ly slie bade 
that she bade 



me adieu 
me return. 



Dactylic Yerse is the most difficult of all to com- 
pose, and comparatively few poems are written in 
that form. As in Trochaic Yerse, there is usually but 
one syllable in the last foot of even lines, as: 



"One more un 


fortunate 


Weary of 


breath, 


Rashly im 


portunate, 


Gone to her 


death." 



In both Anapestic and Dactylic Yerse the oppor- 
tunity and necessity of introducing variations to a 
strict rhythmical arrangement are very great— hence 
the extreme rarity of pure verse in either of those 
forms — and yet so skillfully are these variations often 
interwoven that the beauty of the poem seems not 
impaired in the least. In the ''Burial of Sir John 
Moore," which Byron pronounced the "most perfect 
lyric in the language,'' and which is written in Ana- 
pestic Yerse, these variations are most marked, as will 
be noticed in the last stanza, which is here given: 



Slow 


ly and sad 


ly we laid 


him down, 


From the field 


of his fame 


fresh and go 


ry; 


We carved 


not a line 


and we raised 


not a stone, 


But we left 


him— alone 


with his glo 


ry." 



366 



THE ART OF MEMORY 



In the following selection from ^^The Bohemian 
Girl/' the mingling of Iambic and Anapestic Verse 
will be especially noticed: 



"I dreamt 


that I dwelt 
sals a^nd serfs 


in mar 


ble halls, 


With vas 


at my side; 




And of all 


who assem 


hied within 


those walls, 


That I 


was the hope 


and the pride. 




I had rich 


es too great 
ances 


to count, 


could boast 


Of a high 


tral name; 
which pleased 




But I al 


so dreamt, 


me most, 


That jou loved 


me still 




the same." 





As a general proposition, the more simple in con- 
struction a poem is, the more beautiful and majestic, 
and the least difficult to recollect. A stanza com- 
posed of two lines is the easiest of all to retain in the 
memory — the facility so to do decreasing with the ad- 
dition of each couplet. 

In Iambic Verse the most universal forms are the 
Long, Short, and Common Meter, and poems thus con- 
structed are, from their simpicity of form, more 
easily memorized than those which are modeled upon 
any other plan : the more simple and regular, the more 
easily are they impressed on the memory and the more 
permanently retained therein. Although the forego- 
ing forms of Verse, by reason of their peculiar sym- 
metry of structure, are deservedly considered superior 
to all others in true poetic worth, yet there are not a 
few examples of poetic excellence the stanzas of which 
consist of an odd number of lines. 

The following are notable illustrations: 



DICTION. 367 

"A Battle Song for Freedom," by Gail Hamilton 
(Abigail Dodge), the first stanza of which is as fol- 
lows: 

"Men of action, men of might, 
Stern defenders of tlae right, 
Are you girded for the fight?" 

A poem similar in form to the above, is "The Worth 
of Hours," by Lord Houghton, a selection from which 
is here given: 

"Believe not that your inner eye 
Can ever in just measure try 
The worth of Hours as they gO' by; 
For every man's -weat: self, alas! 
Malies him to see them, while they pass, 
As throug*h a dim or tinted glass." 

Another poem constructed of three line stanzas is 
"A Lay of Keal Life," a humorous poem by Thomas 
Hood: the first, last, and a couple of intermediate 
stanzas are here given: 

"Who ruined me ere I was born. 
Sold every acre, grass or corn, 
And left the next heir all forlorn? 
My grandfather. 

Who got in scrapes— an endless score, 
But always laid them at my door, 
Till many a bitter bang I bore? 
My cousin. 

W^ho used to share in what was mine, 
Or took it all, did he incline, — 
'Cause I was eight and he was ninef 
My brother. 



368 THE ART OF MEMORY. 

Through all this weary world, In brief. 
Who ever sympatliized with grief, 
Or shared my joy— my sole relief? 
Myself." 

The following are selections from several fine 
poems, consisting of five-line stanzas — no two possess- 
ing identical characteristics. 

The first is from "The Old Story/' by Florence 
Percy: (Elizabeth Akers Allen.) 

"My heart is chilled, and my pulse is Silow, 
But of ten and often will memory @o, 
Like a blind, child lost in a waste of snow, 
Back to the days whan I loved you so— 
The beautiful long ago." 

The next selection is from "The Pauper's Death- 
bed/' by Mrs. Southey: 

"Tread softly— bow the head — 
In reverent salience bow- 
No passing bell doth toll- 
Yet an immortal soul 
Is passing now." 

The following selection is from "Take Heart," by 
Edna Dean Proctor: 

"All day the storm and wind has blown 
From off the darlv and rainy sea; 
No bird has past the window flown, 
The only song has been the moan 
The wind made in the willow-tree." 



DICTION. 369 

The next selection is from "Lost/ ■ by an anonymous 
writer: 

"There are gains for all our losses, 
There are balms for all our pains; 
But when youth, the dream, departs, 
It talies something from our hearts, 
And it never comes again." 

The following are examples of seven-line stanzas: 
The first is from "The Brides of Enderby/' by Jean 
Ingelow: 

"The old mayor climbed the belfry tower, 

The ringers rang by two, by three, 
*Pull, if ye never pulled before; 

Good ringers, pull your best' quoth he. 
'Play uppe, play uppe, O, Boston bells! 

Play all your changes, all your swells, 

Play uppe, 'The Brides of Enderby.' " 

The next example is from Chatterton's "My Love is 
Dead:" 

"O, sing unto my roundelay! 
O, drop the briny tear with me! 
Dance no more at holiday; 
Like a running river be. 
My love is dead, 
Gone to his death bed, 
All under the willow tree." 

In "The Cotter's Saturday Mght," by Burns, the 
Stanzas are of nine lines each. 

The following is the first stanza: 



370 THE ART OF MEMOKY. 

"My loved, my honored, much respected friend! 
No mercenary bard bis homage pays; 
With honest pride I scorn each selfish end; 
My dearest need, a friend's esteem and praise: 
To you I sing, in simple Scottish lays, 
The lowly train in life's sequestered scene; 
The native feelings strong, the guileless ways; 
What Aiken in a cottage would have been; 
Ah! though his worth unknown, far happier there, I ween!'* 

Here is a selection from another beautiful poem, 

similarly constructed; it is ^^The Jolly old Pedagogue/^ 

by George Arnold: 

" 'Twas a jolly old pedagogue, long ago, 
Tall and slender, and sallow, and dry; 
His form was bent, and his gait was slow, 
His long thin hair was as white as snow; 
But a wonderful twinkle shone in his eye. 
And he sang every night as he went to bed, 
'Let us be happy down here below; 
The living should live, though the dead be dead,' 
Said the jolly old pedagogue, long ago." 

The ability to dissect sl poem cannot but be of in- 
calculable assistance in storing it away in the mem- 
ory. There cannot be too intimate an acquaintance 
with the detail of construction of the various parts of 
a poem, for such knowledge can be used to most ex- 
cellent advantage, both in the committing to memory 
of the poem and its subsequent recollection. 

Presuming that the student is now sufficiently 
familiar with the preceding portions of this chapter 
to take up the memorizing of a poem, the following 
order of procedure is suggested: 



DICTION. 871 

First: Read the poem through carefully, to grasp 
its general meaning. 

Second: Note the title and author of the poem. 

Third: Note the number of stanzas. 

Fourth: Note the number of lines in each stanza. 

Fifth: Note the form of verse. 

Sixth: Note the meter. 

Seventh: Note whether the rhyme is consecutive 
or alternate. 

Eighth: Note whether the poem begins on the 
right or left-hand page, and on what part thereof, and 
where it ends; also, which stanza is at the top and 
bottom of each page, and how many stanzas are on 
each page. 

Ninth: Note the stanzas in which occur phrases 
or sentences that terminate at other than the end of a 
line. The following is an example: 

"Night is the time to weep; 
To wet with unseen tears 
Those graves of memory, where sleep 
The joys of other years." 

Tenth: Note the most important word or words in 
each line, and especially the first and last accented 
word. 

Eleventh: Note any cases in which two syllables 
or words are united in one; as 

"Howe'er it be, it seems to me 
'Tis only noble to be good." 



372 THE ART OF MEMORY. 

Twelfth: Note any measures in which the accent 
is reversed, as: 



''Large was 
Heaven did 



his boTin 



a rec 



ty and 
ompenise 



his soul 



as large 



sincere; 
ly send." 



Thirteenth: Note any cases where, in order that 
the laws of rhythm may not be violated, the accent is 
given to the least important word in a measure, as: 



"For the 
And things 



soul is 



are not 



dead that 
what they 



slumbers, 



seem. 



or in which the accent is given to the wrong syllable 
of a word, as: 

"And if I find the maiden coy, 
I'll murmur forth decorous joy." — Or 

"Perishing gloomily, 
Spurred by coniwmely." 

Fourteenth: Note any word at the beginning of 
a line that is repeated at the beginning of any other 
line or lines in the poem, as: 

"Farewell!" said he, "Minnehaha: 
Farewell, O my Laughing Water! 
All my heart is buried with you, 
All my thoughts go onward with you, 
Corae not bacli again to labor, 
Come not back again to suffer, 
Where the Famine and the Fever 
Wear the heart and waste the body, 
Soon my task will be completed, 
Soon your footsteps I shall follow 
To the Islands of the Blessed; 
To the Kingdom of Ponemah, 
To the land of the Hereafter!" 



i 



I 
DICTION. 373 

Fifteenth: Note all cases of Alliteration. In- 
stances frequently occur in which the memory is ma- 
terially assisted through "apt alliteration's artful aid.'' 
Alliteration is often introduced in poetical composi- 
tions with charming effect. Shakespeare made fre- 
quent use of it, and always with the highest artistic 
skill, the following being notable instances: 

"To-day he puts forth the tender leaves of hope, to-morrow 
Mossoms, and 6ears his Slushing honors thick upon him." 

"For I have neither wit, nor tf;ords, nor w^orth." 

"The ripest fruit first falls." 

"This precious ^tone set in the silver sea." 

"Now, I am cabined, cribbed, confined." 

"How silver-sweet sound lovers' tongues by night." 

In Gray's Elegy is the following couplet: 

"His Zistless Zength at noontide would he stretch, 
And pore upon the 6rook that Gabbles 6y." 

In Thomson's Seasoiis occurs this fine alliterative 
sentence : 

"Ships, dim-discovered, dropping from the clouds." 

And here is a gem from one of Hartley Coleridge's 

poems: 

"Her very frowns are fairer far 
Than smiles of other maidens are." 

The following is the first couplet of a familiar song: 

"Kathleen Mavoumeen, the gray dawn is breaking, 
The Ziorn of the ftunter is Zjeard on the Tiill." 



374 , THE ART OP MEMORY. 

The following, from Coleridge's Ancient Mariner 
is perhaps the finest specimen of Alliteration in all 
literature: 

"The fair breeze &lew, tlie white foam /"lew, 
The /Tirrow jfollowed free; 
We were the firs* that ever hurst 
Into that silent sea." 

Having become familiar with the foregoing sug- 
gestions, the student is now presumably ready to be- 
gin the actual memorizing of a poem. In entering upon 
this task the resolution should be formed, to make hast& 
slowly; plenty of time should be taken for the memo- 
rizing — only small tasks being undertaken at first — and 
the paramount object should never be lost sight of, 
which is that the poem shall have a place in the mem- 
ory not merely transitory, but permanent. With prac- 
tice the memorizing will grow less difficult, and there- 
fore less slow, but speed should not be sought at the 
sacrifice of thoroughness; when a task is once begun 
it should be fully completed before another is com- 
menced; it is better to know one poem well than sev- 
eral imperfectly. 

In the memorizing of Yerse the student is advised 
to learn the lines in pairs rather than one line at a time. 
There are two reasons for so doing. In the first place, 
a couplet is usually a natural division of the stanza, 
and thus the meaning is the more easily carried in the 
mind; and in the second place, the swing of the poem 
is more securely grasped; and if the rhyme be con- 
secutive, each of the rhyming words is more easilj 



DICTION. 375 

recollected than if only one line is memorized at a time, 
and a firm retention of the rhyming words is of mate- 
rial assistance in the recollection of what precedes. 
Each stanza should first be memorized mentally, and 
then repeated orally, until it shall have become per- 
fectly familiar. 

When a stanza shall have been memorized in this 
wa}^, the preceding stanza should be repeated in con- 
nection with it, and so on through the whole poem. By 
this time days, and perhaps weeks, will have elapsed 
since the memorizing of the poem first began, and the 
latter portion will thus be the freshest in the memory. 
The student should then try to repeat the first two 
stanzas from memory; if any portion cannot be readily 
recalled the memory should be refreshed by reference 
to the book, until both stanzas can be repeated with- 
out hesitation. The two next stanzas should then be 
reviewed in like manner — and so on to the end — the 
two previous stanzas to be alw^ays repeated in connec- 
tion with the two just rehearsed; then the student 
should try to recall the first four stanzas — and proceed 
through the whole poem in the same manner as before. 
By this time it is probable that the poem can be re- 
peated entirely through without hesitation, if it is not 
too long; should there be any weak spots here and 
there, they can be easily repaired, and the poem may 
then be considered as perfectly memorized; it should 
be reviewed at occasional intervals, that it may become 
firmly intrenched in the memory. It is of the great- 
est importance to keep every detail of the poem before 



376 THE ART OF MEMORY. 

the visual memory, that every word, line, and stanza 
may appear as clearly defined in the mental vision as 
if the eye were gazing on the printed page itself. Thus 
it is highly essential to note the position of each stanza 
with reference to the top or bottom of either page; each 
stanza thus has a location in the visual memory, and is 
therefore more easily recalled. . 

Some persons, as they memorize each stanza of a 
poem, repeat all that precedes, but the result of em- 
ploying such a method is that while the first part of 
the poem is memorized thoroughly the latter part is 
memorized less fully than it should be, and thus the 
time is not employed to the best advantage. The stu- 
dent is especially urged not to fall into this habit; there 
is no advantage in being more conversant with one part 
of a poem than another; every part of it should be 
equally familiar; "the chain is no stronger than its 
weakest link," and the effort should be to forge a chain 
that is equally strong throughout 

The theory is sometimes advanced that the tran- 
scription of a poem will aid its retention in the memory. 
While the general proposition is true that the act of 
writing anything down tends to impress it more 
strongly on the memory, yet this theory applies to the 
essence rather than the letter, and to prose rather than 
to poetry. In the memorizing of a poem there is far 
more to be gained by cultivating the visual memory 
than can possibly be done by transcription, and the 
student is advised not to resort to the latter plan un- 
der any circumstances whatever, but to rely entirely 



DICTION. 377 

on the methods already indicated, which will suffice for 
all cases that can arise. 

Poetry, besides appealing most powerfully to the 
sensibilities — ^to all that is best and greatest in human 
nature — is often an invaluable aid in the memorizing 
of names, facts, events, etc., that would be otherwise 
recollected only with much difficulty. 

Every one is familiar with the old rhyme: 
"Thirty days hath September," etc., w^hose useful- 
ness at times most of us can attest. What more con- 
venient and certain a way to determine what date Eas- 
ter Sunday falls upon than by keeping in mind the fol- 
lowing rhyme : 

THE DATE FOR EASTER. 

" 'Thirty days hath September,' 
Every person can remember; 
But to know when Easter's come 
Puzzles even scholars, some. 

When March the twenty-first is past, 

Just watch the silvery moon, 
And when you see it full and round, 

Know Easter'll be here soon. 

After the moon has reached its full. 

Then Easter will be here 
The very Sunday after 

In each and every year. 

And if it hap on Simday 

The moon should reach its height, 
The Sunday following this event 

Will be the Easter bright." 



578 THE ART OF MEMORY. 

How easily can be recalled the various parts of 

speech and their application by means of the following 

Terses? 

"Three little words you often see 
Are Articles a, an, and f^e." 

A Noun's the name of anything, 
As scTiool or garden, Jioop, or sioing. 

Adjectives show the kind of noun, 
As great, small, 'pretty, white, or hrown. 

Instead of nouns the pronouns stand, 
Her head, 7iis face, your arm, my hand. 

Verbs tell us something to be done, 

To read, count, laugh, sing, jump, or run. 

How things are done, the Adverbs tell, 
As slowly, quiclcly, ill, or well. 

Conjunctions join the words together, 
As men and women, wind or weather. 

The Preposition stands before 

A noun, as in, or through, the door. 

The Interjection shows surprise, 
As Oh! how pretty— A7^/ how wise. 

TJie whole are called nine parts of speech, 
Which leading, writing, spelling, teach. 

Can "Shall" and "Will" be defined in terms easier 
to be retained in the memory than by the following 
rhyme: 

"In the first person simply Shall foretells; 
In Will a threat or else a promise dwells; 
Shall in the second and the third doth threat; 
Will simply then foretells the future feat." 



DICTION. 379 

As a concluding illustration, hei'e is a rhyme for 

memorizing the keys on a piano-forte: 

"All the G and A keys 
Are between the black tlirees; 
And 'tween the twos are all the D's: 
Then to the right side of the threes 
Will be found the B's and C's; 
But on the left side of the threes 
Are all the F's and all the E's." 

The foregoing illustrations cannot, it is true, be con- 
sidered gems of poetic art; they are simply doggerel 
verse, intended solely to aid the memorizing of facts. 
There is hardly the opportunity for the introduction of 
tender sentiment or glowing imagery! 

And now we come to the memorizing of Blank 
Yerse, which is more dif&cult than that of Verse, as it 
has no Rhyme, but only Rhythm. 

Yet, while Blank Yerse is indeed lacking in certain 
qualities which lend a peculiar charm to Yerse it has 
its compensative features in gaining greater latitude of 
expression in an intellectual sense; loftier flights of 
fancy can be attained, and thought can be moulded into 
more majestic diction. It is written mostly in Iambic, 
which renders possible a grandeur of expression supe- 
rior to that afforded by any other form of poetical 
measure. 

The method which is suggested for the memorizing 
of Blank Yerse is as follows: 

First: Read the poem through with attention, in 
order to grasp its general meaning, as in the case of 
Yerse. 

28 



380 THE ART OF MEMORY. 

Second: Note the title and author of the poem. 

Third : Note whether the poem begins on the right 
or left-hand page, and on what part thereof, and where 
it ends; also, which is the top and bottom line of each 
page. 

Fourth: Note the most important words in each 
sentence. 

Fifth: Note any cases in which two syllables or 
words are united in one. 

It is suggested that the student memorize from one 
punctuation mark to the next — then from that to the 
following, and so on until a period is reached ; then re- 
view whatever is included between that period and the 
preceding one; after which proceed with the next sen- 
tence in like manner, and as each one is committed to 
memory the previous sentence should be repeated in 
connection therewith, and so on until some natural 
division in the composition is reached; then the stu- 
dent should return to the beginning and repeat tivo 
sentences at a time, following the same plan as in the 
memorizing of Verse. While this form of poetry will 
be committed to memory more slowly than in the case 
of Verse, yet many of the most sublime conceptions 
which ever emanated from the human mind are found 
in Blank Verse, and if selections be memorized as op- 
portunities occur from grand creations such as those 
of Shakespeare, Milton, or Goethe, the student will be 
abundantly satisfied that the time thus spent has been 
occupied in the most profitable manner that could well 
be conceived. 



DICTION. 381 

Much the same plan should be followed in the memo- 
rizing of Prose, as of Blank Verse, and while there is 
usually in Prose an absence of those qualities which 
constitute the chief charm of Verse, yet in the measure- 
less realm of literature many noble examples of prose 
may be found that are well worth committing to 
memory. 

To the student w^ho has not cultivated a habit of 
"verbal" memorizing it may seem not an easy matter 
to find the required time for such study, but there are 
many odd moments of everyday life which would other- 
wise be spent in idle rumination, that could well be em- 
ployed in memorizing choice selections from the boun- 
teous stores of thought and sentiment left as the legacy 
of genius for man's education and exaltation; in gar- 
nering in the memory beautiful gems of literature to 
comfort and delight the mind and heart throughout 
the coming years. 

Every now and then all the poetical and other pro- 
ductions that have been learned should be carefully 
reviewed, that nothing may be lost, for it is as neces- 
sary to have at ready command that which has already 
been stored in the memory, as to make new acquisi- 
tions. It is also an excellent plan, and will afford 
much satisfaction, to keep a list of such compositions as 
have at various periods been committed to memory, add- 
ing to the list from time to time as new acquisitions 
are made, which list can be glanced at now and then, 
to the end that in reviewing from memory the various 
poems and other selections none may be inadvertently 



382 THE ART OF MEMORY. 

neglected or omitted, but all preserved in the remem- 
brance with equal thoroughness and permanence. It 
is a good plan, just before retiring at night, to review 
whatever may have been memorized during the day, 
and to repeat the same on rising the next morning; it 
will often be found that what was but imperfectly im- 
pressed on the memory at night will be easily recalled 
the next morning, after the faculties shall have been 
refreshed by sleep. 

Every one who has a realizing sense of the grand 
and beautiful in literature is strongly urged to begin at 
once, if he has not already done so, to cultivate Memory 
of Diction, and to continue the exercise throughout life. 
At first progress may seem slow, but with practice the 
facility to memorize will expand in a degree which at 
first would have seemed incredible; with growing famil- 
iarity with the inspiring thoughts which the touch of 
genius has moulded into expression, he will find that 
their true appreciation and the desire to attain added 
intimacy with the best and greatest in literature, as 
well as the ability to retain it in the memory in its 
exact diction, will increase with each act of memoriz- 
ing; and when the memory shall have become abun- 
dantly stored with examples of graceful sentiment, ma- 
jestic thought, and glowing imagery, from the mind and 
heart of genius, the student can felicitate himself that 
he possesses a fund of riches which is destined to be a 
source of untold satisfaction and inspiration through- 
out life, and cannot fail to recompense him an hundred- 
fold for the time and effort devoted to its accumulation. 



CHAPTER XVL 



PEOPEE NAMES. 



"The memory of Dames is a subject witla -which most persons 
must have a more than passing interest. * * * 

"The numher of persons who never or rarely forget a name is 
exceedingly small; the number of those who have a poor memory 
for them is very large. The reason for this is partly a defect of 
mental development and partly a matter of habit. In either case 
it may be overcome by effort. * * * 

"I have satisfied myself by experience and observation that a 
memory for names may be increased not only two, but a hundred- 
fold." Pkof. Holbeook. 



That names are far more difficult to recollect than 
faces, is a fact which is amply verified by the experi- 
ence of universal mankind. Who indeed is not able to 
recall with far more readiness a person's features than 
his name? A single attentive glance at the former is 
often sufficient to insure their recognition the next time 
they are seen, however long may be the intervening 
period — but how different with the name: how brief 
indeed is likely to be its duration in the memory! Un- 
less there be some prompt association, sufficient to bind 

(383) 



384 THE ART OF MEMORY. 

the face and name together, in the consciousness, there 
is little doubt that ere long the name will either have 
entirely vanished from the memory or be possible of 
recall only by the most persistent effort of the will. 

We will surely all agree that there is little satis- 
faction in being recognized and greeted by name by 
an acquaintance, and yet be unable to respond further 
than in the first particular. In many cases we may 
recollect the name directly afterwards — but then it is 
too late — our memory has proved recreant to its trust, 
and we are thereat annoyed, if not mortified; it is only 
necessary to recall incidents in our own experience in 
which ire were not recognized by name when in our 
opinion we ought to have been, to appreciate another's 
feelings when the conditions are reversed. 

What an irresistible charm there is in being 
promptly recognized in both feature and name by those 
whom we have only casually met! and even if vanity 
be the medium through which the charm is w^rought, 
yet the sentiment thus inspired is confessedly^ instinct- 
ive in mankind the whole world over; no less so is it 
to-day than when Young, nearly two centuries ago, 
said : 

"The love of praise, howe'er concealed by art, 
Reigns more or less and glows in every heart." 

And although simply to be recognized and called by 
name can hardly be said to constitute praise, yet it at 
least suggests a feeling of interest, if not regard, which 
is more or less flattering to the vanity of the recipient 



PROPER NAMES. 385 

— and if there be a charm in being readily remembered 
on brief acquaintance, there is a more than correspond- 
ing pleasure to the one who remembers — and he who 
has sedulously cultivated the power to recall both by 
countenance and cognomen those whom he has met, no 
matter when or where, or how frequently, need have 
no fear of ever regretting it; he will not only derive 
untold pleasure through the exercise of this faculty, 
but will find the pathway of life far less rugged than 
it would otherwise be; and his ambitions, whether they 
be modest or lofty, will be more likely of realization 
than if the culture of this branch of his memory were 
neglected. 

That the ability to promptly call by name any per- 
son whose face has been seen and name heard is a 
highly desirable faculty to possess, is universally rec- 
ognized and abundantly confirmed by the experiences 
of life; it means to the business man increased patron- 
age; it means to him who is in public life added hon- 
ors and emoluments; and to the man in social life it 
means an enhanced popularity, whose true value can- 
not be measured in the currency of mere words. 

But it is not only in the personal intercourse of 
social, business and public life that material advan- 
tage is derived from cultivating the memory of proper 
names; if the literary student would carry "within 
the book and volume" of his brain the legends of 
Mythology, the facts of History, or the tangled threads 
of Fiction, a good memory for names is indispensable. 
Of how little real value would be one's familiarity with 



386 THE ART OF MEMORY. 

Mythology if the names of its deities should perchance 
have eluded his memory: How vast a yoid in Grecian 
mythology y^^ould there seem if such names as Jupiter 
and Juno and Pluto and Mars and Apollo were foreyer 
blotted from the recollection : What significance would 
there seem to Egyptian mythology were Osiris and Isis 
and Seth and Horus and Thoth to be expunged from 
Memory's tablet: And what a hiatus in one's knowl- 
edge of History if the names of the warriors and states- 
men whose inspiring deeds are written on the scroll of 
Fame are found to haye faded from the recollection! 

And the familiar characters of Fiction: how 6iig- 
gestiye of the imagined scenes in which they partici- 
pated are their very names! To preserve in memory 
the details of that masterpiece of Hugo's Les Mise- 
7^ah1es, how indispensable are such names as Jean Val- 
jean, and Gavroche, and Marius, and Cosette! To one 
who has read that greatest of Fielding's works, "Tom 
Jones," the recollection of the very names of the benev- 
olent Squire Allworthy, the lovely Sophia Western, her 
jolly father the Squire, and the hero of the stoiw, Tom 
Jones — surely serve to revive in the memory a world of 
incident. And in the works of the immortal Dickens 
how suggestive are such names as Uriah Heep, Silas 
Wegg, Sam Weller, Dick Swiveler, Captain Cuttle, Al- 
fred Jingle, Micawber, Fagin, Quilp, Squeers, Nan 
Sykes, Little Nell — and that grandest character of all, 
Sydney Carton! 

From the earliest times men have lived who pos- 
sessed a phenomenal memory for proper names. Aris- 



PROPER NAMES. 38T 

totle is reputed to have been familiar with all the names 
in Natural History known in his day. Socrates is said 
to have remembered the names as well as faces of all 
who attended his discourses; and Xenophon could call 
by name every one of the soldiers who were with him 
during the famous Eetreat of the Ten Thousand. 

Pericles, the greatest of all Athenian rulers, could 
greet every citizen of Athens by name, and much of his 
wonderful popularity was due to that fact. Trajan, it 
is said, knew by name all the Praetorian Guards — about. 
10,000 in number. 

Cineas, the noted consul, who was sent to Eome on 
an important mission by Pj^rrhus, King of Epirus, per- 
formed the feat of memorizing in one day the names of 
all the men of importance in the city. Themistocles, 
the victor of Salamis, could call by name every one of 
the twenty thousand citizens of Athens; and it is re- 
lated by Plutarch that Lucius Scipio knew the name of 
every Roman citizen. 

Coming down to modern times, we learn that Wash- 
ington could always call by name a man who had once 
been introduced to him. Napoleon, it is said, never for- 
got a face or a name. He would often greet private sol- 
diers byname, sometimes alluding to the circumstances 
under which he had last met them. John Wesley, 
when addressed by any person whom he had met be- 
fore, was rarely at fault in promptly calling him by 
name. Henry Clay could call by name thousands of 
his constituents — which was the great secret of his 
remarkable popularity; James G. Blaine also possessed 



SS8 THE ART OF MEMORY. 

this power in a wonderful degree and seldom forgot the 
name of a person whom he had once met. It is safe 
to say, however, that with the exception of those whose 
peculiar vocation necessitates their culture of the fac- 
ulty, there is not one pei*son in a hundred who has a 
g'ood memory for proper names, however excellent may 
be his memorv for faces. 

But whv is it that we can more easilv recoii'nize a 
person's features than recall his name? and why is it 
more difficult to retain in the memory a proper noun 
than a common noun? The answer to the first ques- 
tion is that Sight impressions, being in their nature far 
more vivid and enduring than are those of Sound, pro- 
duce the more powerful and lasting effect on us of the 
two; what we .s'((^ affects us more deeply and perma- 
nently than what we hear. 

The other question may be answered by the state- 
ment that a proper noun, or name, when considered 
independently of accidental features of coincidence 
with something that is familiar, doesuH mean aiu/thiug; 
for this reason a mental picture of it is not easily 
formed, which accounts for the fact that the primitive, 
tedious way of rote, or repetition, is that ordinarily em- 
ployed to impress a proper noun on the memory, while 
a common noun, being represented by some object hav- 
ing shape, or appearance, in the physical or mental 
perception, can thus be seen, or huagiiied: in other 
words a mental image of it can be formed and the name 
identified aftei'wards, through associating it with this 
mental image. 



PROPER NAMES. 389 

The ease or the difficulty which we experience in 
recollecting names seems not to be governed by their 
length nor peculiarity of spelling or pronunciation, 
nor by the frequency with which we have read, heard, 
or uttered them; a name which one person finds most 
difficult to recall, another may find comi)aratively easy. 
Then, too, it is often more difficult for us to recall a 
person's name at one time than at another, by reason 
of the different condition of our mind at each time. 
On one occasion our mind may be so favorably dis- 
posed that on sight of the person his name springs to 
our lips without our scarce knowing it, while at an- 
other time some other subject may so engross our 
thoughts that we cannot divert them therefrom suffi- 
ciently to recall the name, in spite of our best endeavor. 
A proper name which is not familiar through frequent 
repetition is of very uncertain vitality in the memory 
at the best, unless we can discern and employ some 
form of association to preserve it. 

It is worth while to note the origin of many of our 
familiar proper names. Thus White, Black, Brown, Gray, 
etc., represent colors; King, Prince, Lord, Knight, Pope, 
Bishop, etc., titles of distinction; vocations are indi- 
cated by such names as Miller, Baker, Cook, Smith, 
Carpenter, Mason, Cooper, Sawyer, Weaver, Hunter, 
Fisher, Fowler, Miner, Turner, Porter, Carver, Taylor, 
Barber, Tanner, Draper, Brewer, Shepherd, Waterman, 
Sadler, Carter, Wagner, Gardner, etc.; personal qual- 
ities or characteristics are suggested by such names as 
Strong, Hardy, Noble, Bright, Gay, Savage, Swift, 



390 THE ART OF MEMORY. 

Long, Doolittle, etc.; the auimal kingdom is repre- 
sented b}' such names as Fox, Hare, Wolfe, Lyon, Hart, 
Buck, Bird, Finch, Partridge, Drake, Heron, Crane, 
etc.; botanical terms by Wood, Boot, Branch, Weed, 
Beed, Bush, Flower, Bose, Birch, Pine, etc.; and cer- 
tain features of the earth's surface by Hill, Dale, Field, 
Marsh, Lane, Brooks, etc. — and many other examx^les 
of a similar character might also be given. 

We will now pass on to the more important subject 
of the practical memorizing of proper names, and how 
to accomplish the same with the least labor and in the 
most intelligent manner consistent with permanent re- 
sults. As the names of many places are derived from 
persons, it will hardly be necessary in the pages which 
are to follow to distinguish between them; therefore 
for the sake of convenience all rules, suggestions and 
illustrations will have reference to the latter, the 
method which is proposed including all that is requisite 
to assist the student in the memorizing of geographical 
names. It is well to fulh' apprehend that of all classes 
of words which it may be found necessary or desirable 
to memorize, a proper name is by far the most difficult, 
and therefore even the best system which it is possible 
to devise cannot change a rough path into a smooth 
one; the most that it can accomplish in such case is to 
reduce the difficulties to a minimum — the rest must be 
done through concentration of attention, and repetition. 

Kames which are possible of ready association will 
first be considered. Thev mav be associated in the fol- 
lowing ways: 



PROPER NAMES. 391 

First: With identical names belonging to persons 
who are well known, either in person or bj reputation. 

Second: With words similarly spelled or pro- 
nounced, which have a well known signification. 

Third : With words the first portion of which, only, 
is similarly spelled or pronounced, and which has a 
well known meaning. 

Fourth: With significant words having a pronun- 
ciation of general similarity, but not identical. 

For convenience the second and third classes of 
names may be subdivided into the following parts of 
speech : 

1: Common nouns. 

2: Adjectives. 

3: Verbs and adverbs. 

Perhaps no better illustration can be given of the 
remarkable extent to which this form of association 
can be used, than to select from among the familiar 
names of history such ones as can be readily associated 
\)j the foregoing method. In conformity with this 
proposition, lists of historical personages as above in- 
dicated have been selected and are here given. It will 
be remembered that the words with which the proper 
names or their first syllables are to be associated need 
not be identical in hoth spelling and pronunciation, 
but only in one or the other; thus Bede would be as- 
sociated with Bead: Hale with Hail; Harte with Heart: 
Kane with Cane: the first syllable of Burdett would 
be associated with Bird: that of Bancroft with BanTc: 
of Coleridge with Coal: of Egbert with Egg: Ledyard 



392 THE ART OF MEMORY. 

with Lead, and Wycliffle with Wick: Camel would suggest 
Camillus : Palace, Palissy, and so on. In the case, how- 
ever, of a word consisting of two or more syllables, each 
one of which, if taken separately, would constitute an 
intelligible word, care should be taken to memorize the 
syllables in their proper order, otherwise an experience 
might sometimes be met with as interesting as the fol- 
lowing: A young lady received a social call from a 
gentleman named Cow^dry, whom, in the course of the 
evening, she introduced to her mother, who was un- 
fortunately sadly deficient in the memory of proper 
names. After her visitor had departed the young lady 
began to drill her mother in the memorizing of his. 
name, using the syllables separately, as each of them 
represented a distinct word, and was thus the more 
easily memorized. In due time the mother expressed 
herself as being positive that she would not forget the 
name, and when the next call was made by the gentle- 
man the mother advanced with a smile as he entered 
the room and said in the most confident manner: "How 
do you do, Mr. Dry CowP^ 

The lists of historical personages are as follows. 



COMMON NOUNS. 

Aci(?alius Arc/iimedes 

Alabaster ArJcwrigM 

Angelo Arm in i us 

Antony AsJi hiir ton 





PROPER NAMES. 


Babev 


Bossnet 


Bacon 


Bowles 


Bag ration 


Bow ring 


Baker- 


Boyle 


Bales 


Brasidsis 


Bancroft 


BaysiTd 


BarhsLTOBSSi 


Beaconsfield 


BarneYeldt 


Beaumont 


Baronm^ 


Bede 


Barri 


Beechev 


Barrow 


Beethoven 


Bellini 


Buckle 


Benedict 


Bulwer 


Bier^tadt 


Burdett 


Bonnet 


Burv 


Boone 


Bur ton 


Booth 


Butler 


Cahot 


Clay 


CamilluB 


Coh den 


Camp hell 


Coke 


Canning 


Cole ridge 


Cap grave 


Colonnsi 


Card an 


Colt 


Carljle 


Cook 


Castlevesigh 


Cooper 


Catullus 


Cordsij 


Cavalier 


ConieiWe 


Cellini 


Cousin 


Chap man 


Cover dale 


Chartier 


Coicyer 



39a 



394 



THE ART OF MEMORY. 



Chateaiibvisiiid 


Crabhe 


CJieruhini 


Cruik shank 


Church ill 


Cud worth 


Den ham 


Dyce 


Drake 


Dyer 


East lake 


Elphin stone 


Edge worth 


Epictetus 


Egbert 


EpicuruB 


Elmacin 


Erinnsi 


Ealconer 


Foote 


Fielding 


Ford 


Fin lay 


Forrest 


Firdou^i 


Fortesque 


Fisch art 


Fortimsitus 


Flax man 


Fourier 


Fontenelle 


Fox 


Galen 


Germanicn^ 


Gardiner 


Gill ray 


Garrison 


Glen doiver 


Gas^endi 


Goldsmith 


Hale 


Herder 


Hallev 


Hogg 


HamiMon 


Homer 


Harte 


Hood 


Haicthorne 


Hook 


Haydn 


Hunter 


Helmholtz 


Hut ton 



Kane 



Key 



PROPER 


NAMES. 


Kant 


KingBlej 


Ken 


Knellev 


Lanil) 


Leopardi 


Land seer 


Lever 


Lap lace 


Lilye 


Lardner 


/vipsius 


Lassen 


Liver pool 


Law 


Locke 


Led yard 


Lover 


Legendre 


Lucretins 


Lemonnier 


Lullj 


Macau lay 


Men age 


Male hranche 


MetJiodius 


Mansfield 


Middle ton 


Martyr 


Millet 


Matsjs 


Monk 


Napoleon 


Nestor 


Necker 


North cote 


Odoric 


Origen 


Paganini 


Pitt 


Paine 


Plato 


Palissj 


Polo 


Palmerston 


Pompej 


Park 


Pope 


Part on 


Porter 


Patti 


Powers 


Penn 


Pres cott 



395 



29 



396 



THE ART OF MEMORY. 



Pestalozzi 


Priestlj 


Pindar 


Puffendorf 


Quarles 


Quintilian 


Ravennsi 


Rooke 


Robespierre 


Rymer 


Salad in 


Soc rates 


Sandesiu 


Sodomsi 


Savage 


Son tag 


Schilling 


Southej 


Shafteshury 


SpartsLcns 


Shellej 


Steele 


Smiles 


Story 


Turner 


Tyn dale 


yiei^a?temps 


Villani 


Wall ace 


West 


War wick 


Wolfe 


Web ster 


Wordsworth 


Wedg wood 


Wren 


Wellingtoji 


Wyclifle 


• 


ADJECTIVES. 


Better ton 


Bright 


Black stone 


Browning 


Constantine 


Cruden 


Fair fax 


Ful ton 



PR( 


DPER NAMES. 


Gay 


Gray 


Glad stone 


Grimm. 


Hard wicke 


Hot man 


Little ton 


Long fellow 


Martially 


Moore 


Moody 


Motley 


Palej 


Prior 


Pius 


Proudhon 


Richelieu 


Rohusti 


Sterne 


Swift 


Tauler 


Tacit us 


White field 


Young 



397 



VEEBS AND ADVEKBS. 



Addison , 


Anglesey 


Beat on 


Borroto 


Boling broke 


Burns 


Chantrej 


Chat ham 


Charron 


Chatter ton 


Flo tow 


Foster 


Grant 


Gringoive 


HastingB 


Hum holdt 


Helps 


Hunt 



398 



THE ART OF MEMORY. 



Liszt 


Living stone 


Marry aft 


Marvell 


Parry 


Rey7io\ds 


Reade 


Peel 


Sever ns 


Stowe 


Shake spcare 


Spinolsi 


SpeJiC 


Sue 


Tooke 


Tanna liill 


Waitz 


Wasliing ton 



Amou<^- the names in the fourth class, to be asso- 
elated with siguificant words of similar sound, ma^^ be 
mentioned the following': 



Akenside 

Ballon 

Barbour 

Becket 

Brougham 

Buffon 

Bunyan 

Calderon 

Child eric 

Chaucer 

Confucius 

Curran 

Cushing 



(Aching side) 

(Balloon) 

(Barber) 

(Bucket) 

(Broom) 

(Buffoon) 

(Bunion) 

(Cauldron) 

(Children) 

(Saucer) 

(Confusion) 

(Currant) 

(Cushion) 



PROPER 


NAMES. 


Da guerre 


(Dagger) 


Dampier 


(Damp air) 


Dominic {^t.) 


(Domino) 


Ernst 


(Earnest) 


Fawkes 


(Folks) 


Forster 


(Forester) 


Garrick 


(Garret) 


Gough 


(Cough) 


Handel 


(Handle) 


Hannibal 


(Hand-bell) 


Herrick 


(Herring) 


Lecky 


(Lucky) 


Libanius 


(Libation) 


Livy 


(Livid) 


Lowell 


(Low well) 


Loyola 


(Loyalty) 


Massinger 


(Messenger) 


Mather 


(Mother) 


Mazarin 


(Magazine) 


Medici 


(Medicine) 


Mencius 


(Mention) 


Moliere 


(Molar) 


Montaigne 


(Mountain) 


Morland 


(More land) 


Offenbach 


(Off and back) 


Palladis 


(Paradise) 



399 



400 



THE ART OF MEMORY. 



Pasteur 


(Pasture) 


Pepys 


(Pepsin) 


Petrarch 


(Patriarch) 


Pliilopoemen 


(Philopoena) 


Plutarch 


(Plutocrat) 


Politian 


(Politician) 


Prentice 


(Apprentice) 


Propertius 


(Property) 


Reaumur 


(Roamer) 


Rossetti 


(Rosette) 


Sappho 


(Sapphire) 


Scarlatti 


(Scarlet tie) 


Silliman 


(Silly man) 


Skelton 


(Skeleton) 


Sothern 


(Southern) 


Spurgeon 


(Sturgeon) 


Stedman 


(Steady man) 


Stilicho 


(Stiletto) 


Sulla 


(Sully) 


Sumner 


(Summer) 


Tennyson 


(Tennis) 


Tromp 


(Tramp) 


Valla 


(Valley) 


Yirgil 


(Virgin) 


Wagner 


(Wagoner) 


Wessel 


(Vessel) 


Whittier 


(Wittier) 



Zeno 



(Zero) 



PROPER NAMES. 401 

It will thus be seen from the foregoing lists that 

• hundreds of the distinguished men of history possess 

names which are comparatively easy of association. * 

Some of the above illustrations may seem far- 
fetched, but it must be borne in mind that, by reason 
of proper names being the most difficult of all to mem- 
orize, any association whatever, absurd though it may 
appear, is far better than none, and thus the most lib- 
eral latitude may properly be used in the forming of 
associations. 

And now as to the actual practice of memorizing 
proper names. 

The first thing is to ascertain if the name to be mem- 
orized is identical with that of any other person with 
whom the student is on familiar terms. If it is, the 
two should be associated in the mind until the recol- 
lection of the more familiar name of the two will cause 
the other name to be revived in the memory also; this 
will be found the easiest way of all in which to mem- 
orize a proper name; if the student be unable to recall 
to mind a name identical in spelling or pronunciation 
with the one which it is desired to memorize, let him 
try to think of a familiar name whose first syllable cor- 
responds with that of the name to be memorized; if 
this can be done it will be found that the whole name 
can be recalled with only a slight effort of the memory, 
the first syllable being really the key. Should no name 
be thought of which can be thus associated, let the 
student next see if the name to be memorized is spelled 
or pronounced the same as some well known word or 



402 THE ART OF MEMORY. 

words with a meaning; if the whole name has no suck 
counterpart let it be ascertained if the first syllable has, 
and if so what part of speech it represents; the balance 
of the name will be recalled with but slight effort, as 
in the case just mentioned — the first syllable being of 
all-importance; or let the student endeavor to think of 
some familiar word that sounds nearly the same as the 
name to be memorized — as Gough (Cough): Spurgeon 
(Sturgeon): Moliere (Molar): Confucius (Confusion). 

If all these attempts to find an associating s^^llable 
or word prove fruitless, there is no other wa}^ but to 
fi^ the name in the memory by purely Sight or Sound 
impressions, or both — in other words, by frequently re- 
peating the name until it is fairly pounded into the 
memory; and where this last plan is resorted to, ex- 
perience will demonstrate that the practice already had 
of searching for a word or syllable of similar spelling 
or sound will in itself prove of great assistance in im- 
printing the name on the memory. Although the last- 
mentioned means of memorizing proper names is seem- 
ingly primitive in its character and devoid of system, 
yet even in that case method can be employed to a con- 
siderable extent; for instance, the student can notice 
how many syllables are in a name and how many let- 
ters in the first syllable; whether the first letter is a 
vowel or a consonant; whether the second letter is of 
the same character, or its opposite — and so on. 

A student of a mathematical turn of mind can 
evolve method out of that which would ordinarily seem 
not to furnish the slightest foundation therefor. Sup- 



PROPER NAMES. 403 

pose the alphabet be divided into five parts, the vowels 
forming the points of division, it will be noticed that 
between a and c there are three consonants; between 
e and i the same number; between i and o there are five; 
between o and n, five; and after u, five also — the vowels 
also numbering five: so that the number of vowels, the 
number of divisions, and the number of consonants in 
each division are represented by the figures 3 and 5, 
which are both odd. Let it then be noted whether the 
name to be memorized begins with a vowel or a con- 
sonant (the chances being about five to one that it will 
be the latter), and whether the second letter is of the 
same character, or its opposite. If the name begins 
with a vowel the student will find less difficulty in rec- 
ollecting which one it is, as there are only five vow- 
els, and comparatively few names begin with either I 
or U, the proportion of proper names beginning with 
the various vowels being about as follows: A 20, E 15, 
I 3, O 8, U 2 — so that nine times out of ten a name 
beginning with a vowel will not commence with either 
I or U, and when it does the very exception will tend 
to impress the memory; the vowel can also be desig- 
nated numerically — 1, 2, 3, 4, and 5 indicating a, e, i, o, 
and u, respectively. If the name begins with a con- 
sonant there will be little difficulty in recalling the 
particular division in which the consonant is situated 
— whether the 1st, 2d, 3d, 4th or 5th — also the number 
of the letter in such division; if the second letter in the 
name be a consonant also, it can be located by the same 
method. With the vowels there will be less difficulty; 



404 THE ART OF MEMORY. 

the most important thing is to learn the consonants — 
the vowels will be comparatively easy to recollect. It 
will seldom be necessary to memorize more than the 
first syllable of a name — the rest will usually be re- 
tained in the memory almost unconsciously; and should 
the first syllable consist of more than three letters it 
will rarely be necessary to memorize more than the 
first three. The first letter of a name is the most essen- 
tial of all to recollect, each succeeding letter being 
usually less difficult to recall than the preceding one; 
therefore especial care should be taken to thoroughly 
imprint the first letter on the memory, as it is the key 
to that which follows. After a name has been mem- 
orized in this way and afterwards reproduced two or 
three times, it is likely to be retained permanently in 
the memory through Sight impressions alone, when it 
will no longer be necessary to rely upon anything else; 
the main idea in memorizing a name is to force the 
mind to dwell intently on the most important letters 
until a thorough impression is effected. Names which 
are memorized by this method are more than likely to 
cling to the memory with great tenacity. 

For example: Take the name ^^Atherton." A, be- 
ing the first letter in the alphabet, would be repre- 
sented by 1. T is in the fourth division and is the fifth 
letter. H is in the second division and is the third let- 
ter. The figures 1; 4, 5; 2, 3 would therefore represent 
the first syllable of the name, Atli., a single figure indi- 
cating a vowel, and a pair of figures a consonant. The 
name Bascome would be indicated thus: 1, 1; 1; 4, 4 



PROPER NAMES. 405 

for the first syllable; and 4, 4; 4, 5; 2 would represent 
the first syllable of the name Stevens. It will be no- 
ticed that in each of the above eases the vowel occupies 
a different position. It may be urged that it ought to 
be less difficult to memorize the letters themselves than 
the figures, as the former contain the lesser number of 
characters, but one who is of a mathematical cast of 
mind might reply that the relation between figures, the 
highest of which does not exceed the numeral 5, is 
retained in the memory with less difficulty than a par- 
ticular combination of letters selected from among 26! 

For a person who is defective in "figure memory'' 
the following plan may be more practical: Write the 
name down on a slip of paper or in a book, and look at 
it attentively now and then, as well as pronounce it 
audibly, and perhaps rewrite it one or more times, as 
each act of writing tends to impress the name still more 
strongly on the memory. Louis Napoleon, who had a 
remarkable memory for names, used to write on a slip 
of paper a person's name that he wished to retain, look 
at the slip carefully and then throw it away; it is said 
that he never forgot a name memorized in this way. 

After a person's name has been memorized, by what- 
ever method, it can be still further intrenched in the 
memory in two ways: 

First: by linking together in the mind the person's 
name and the place where he was met, and the circum- 
stances surrounding the meeting. 

Second: by linking together the person's name and 
any striking peculi.arities of his appearance or dress. 



406 THE ART OF MEMORY. 

One of the severest tests to which a person's mem- 
ory of proper names can be subjected is when he is 
introduced to a number of persons in quick succession, 
as at a social gathering. The closest attention must 
be paid as each name is uttered, and the association 
must be prompt, or it will be of little value; in most 
cases it must be with some peculiarity of feature, form, 
or dress, the association being adopted w^hich seems the 
most applicable, and an early opportunity sought to 
impress it still more strongly on the mind; for in each 
case sufficient time must be taken to form a clearly- 
defined association. The names should be written down 
in as many cases as possible, that the memory impres- 
sions may be preserved before any of the essential ones 
have fled. Opportunities to write down names do not 
occur in every case however, and where^ they do not, 
reliance must be placed on the means previously indi- 
cated, which will usually suffice. 

Thus far the methods suggested have had reference 
to surnames only — they being of chief imj)ortance. It 
is often necessary or desirable to memorize a person's 
initials also. To accomplish this the student should, 
if possible, first recall to memory some well known per- 
son having initials identical with the former person's, 
and then mentally associate the two persons, the recol- 
lection of either one aiding to recall the other. It 
usually happens that some name can be thought of with 
identical initials, but if both initials in their proper 
order cannot be found accompanying any name thus 
thought of, then the initials should be reversed and a 



PROPER NAMES. 407 

name sought for to correspond therewith, and if a name 
is found, a mental note should be made of the fact that 
the initials are reversed ; but if a name cannot be found 
in either case, then the same method should be em- 
ployed as in memorizing the first portion of a surname 
which cannot be twisted into a meaning. 

Another way to memorize initials is to see if they 
correspond with any well known abbreviations, as for 
instance: B. C, A. D., A. M., P. M., N. E., N. W., S. E., 
S. W., M. C, M. P., D. D., M. D., B. A., M. A., U. S., P. 
O., N. B., O. K., etc. Besides the surname and the ini- 
tials, it is sometimes necessary or desirable to mem- 
orize a person's gwen name, which latter may not be 
identical with that of the person whose initials may 
correspond. The cases however when it would be nec- 
essary to memorize that portion of the name at the same 
time as the i^est of the name are extremely rare, as it 
must be a familiar acquaintance indeed whom one 
would greet or mention by other than his or her sur- 
name. The cases in which given names are used are 
mostly where relatives or personal friends are ad- 
dressed, or else where children are spoken to, and he 
who w^ould be popular with the little ones would do 
well to cultivate a memory for given names. Children 
love to be noticed and called by name; it is regarded 
by them as a compliment to their intelligence and con- 
sequence which they are only too ready to appreciate ; 
and the failure of a person whom a child knows, to 
promptly call it by its given name is not soon forgotten. 

Some years ago a clergyman was called to the pas- 



408 THE ART OF MEMORY. 

torate of a church, and a few months after he had en- 
tered upon his duties one of the little girls in the con- 
gregation was asked how she liked the new minister. 
"Oh! I don't like him very well," was the reply. "And 
why not?'' "Oh! because he never knows my name!'^ 
An important feature of that minister's education had 
evidently been neglected; yet there is no good reason 
why he should not have produced a very different im- 
pression on the child, as the memorizing of given names 
is quite easy compared with that of surnames, the num- 
ber of the former in common use being limited — not 
exceeding a hundred in the case of men and seventy- 
five in that of women — while in surnames the variety 
is unlimited. 

Given names which are in common use need not be 
memorized by any special method; the very frequency 
with which they are uttered will sufficiently impress 
them on the memory without mnemonical aid; the 
main idea to bear in mind is that the name must in 
some way be associated with the person to whom it 
belongs. The most simple and practical plan is to 
think of some well know^n person whose given name is 
the same as that which is to be memorized, and then 
associate the two; if such a person cannot be thought 
of, then the name must be memorized simply by fre- 
quent repetition — the necessity for which is, however, 
not likely to often occur. 

Among proper names those pertaining to geography 
will be generally found the most difficult to memorize, 
owing to the fact that they contain less possibilities of 



PROPER NAMES. 409 

comparison than surnames. It is indeed true that 
many geographical localities are either named after or 
derived from surnames, but a large XJroportion of such 
names are foreign and not modern, and do not corre- 
spond with surnames of the present day; besides, it is 
not so easy for the mind to associate a person with a 
place as with another person; it is more natural to 
associate like with like. The memorizing of geograph- 
ical names should be accomplished, in the main, in the 
same manner as that of surnames, the suggestions 
which are applicable in the one case being equally so 
in the other. 

To these suggesti/^ns which have been offered but 
little need be added; attention and practice on the part 
of the student must do the rest. With practice will 
come the capacity to seize intuitively upon the most 
available form of association and fix a name in the 
memory with promptness and permanency; and the 
possessor of a well-developed memory for proper names 
may well hope and expect to acquire through the years 
of his life an extended circle of friends, and to attain 
an enviable familiarity with the chief names that adorn 
the pages of history and legend and fiction. And with 
a prospect such as this to stimulate his energies, w^ho 
shall say that the time and labor devoted to the culti- 
vation of a memory for proper names could well be 
spent in vain? 



CHAPTER XVII. 



MUSIC. 



"The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is tit for treasons, stratagems and spoils." 

Shakespeare. 

"Who is there that, in logical words, can express the effect 
music has on us? A kind of inarticulate, unfathomable speech, 
which leads us to the edge of the infinite, and lets us for moments 
gaze into that! * * * Music is well said to be the speech of 
angels." Carlyle. 

"Of all the liberal arts, music has the greatest intluence over the 
passions. * * * a well composed song strikes and softens the 
mind and produces a greater effect than a moral work, which con- 
vinces our reason, but does not warm our feelings, nor effect the 
slightest alteration in our habits." Napoleon. 

"Music wakes a glad remembrance of our youth, calls back past 
joys, and warms us into transport." Rowe. 

"Music, which gentler on the spirit lies 
Than tired eyelids upon tired eyes." 

Tennyson. 

"And the night shall be filled with music, 
And the cares that infest the day 
Shall fold their tents, like the Arabs, 
And as silently steal away." 

Longfellow. 

(410) 



MUSIC. 411 

Of all the pure delights which it is possible for the 
human soul to absorb through the medium of the sensi- 
bilities, Music can furnish the sweetest, the most in- 
spiring, and the most enduring. How often have inci- 
dents which seemed to elude all other attempts at recol- 
lection, been revived in the memory through the echo 
of some tender strain last heard, it may be, in the hal- 
cyon days of childhood! Often have stony hearts been 
softened, often have noble deeds been inspired through 
the pathos, the eloquence and the majesty of Music. It 
has the power to portray every possible emotion of the 
human soul; in this realm it holds undispu-ted sway, 
and in this realm alone can its power be exerted. A 
noted writer, in an essay on music, says: "Prose is the 
language of social life; Poetry that of fancy and imag- 
ination; Painting and Architecture of color and form; 
and Music of emotion." 

To define music in as few words as possible, no more 
concise statement can perhaps be made than that it is 
a succession or combination of euphonious sounds ar- 
ranged in conformity with the law^s of harmony. This 
is simply the formal definition of the term — but surely 
mere words are inadequate to express the full signif- 
icance of that one word — Music! From the distant 
twilight of Time through all the intervening ages have 
the magic strains of music proved their wondrous po- 
tency to sway the hearts and minds of men; its gentle 
cadences may move the heart to tender sentiment, or 
lull the senses into sweet oblivion; its measures of 
majestic harmonies can stir to their inmost recesses the 

30 



412 THE ART OF MEMORY. 

might}' passions of the soul. The surpassing eloquence 
of a Chatham, a Webster, or a Mirabeau may indeed 
fill the soul with patriotic impulse, but the thrilling 
accents of '^Hail Columbia,'^ the ^'Marseillaise,''^ or 
''^yacllt am Rhein,^^ can rouse men to intrepid action. 
Its mission is for good, not evil; it harmonizes with 
the better impulses of human nature; it cannot exert 
a malignant nor debasing influence, but sheds luster on 
the noble efforts and heroic acts of man. 

Coleridge said of music: "I feel physically re- 
freshed and strengthened by music, as Milton says he 
did.'' 

Thomas Moore said: ^'Music is the true interpreter 
of the religions." And Charles Kingsley expressed 
this sentiment: "Music is necessary to the rounding 
and finishing of the perfect character.'' 

While Music may be not improperly termed one of 
the exact sciences, yet its illustrative features occupy 
a field whose vastness is inconceivable. The world of 
Music is a treasure-world, but its treasures are not 
measurable by earthly standards; it is a, world so vast 
that neither head nor heart has ever fathomed its pro- 
foundest depths nor soared to its sublimest heights. 
New Beethovens, and Wagners, and Mozart s will rise, 
flourish, and pass away; others will take their places, 
and in turn live and labor and leave to generations yet 
to come the imperishable fruits of their genius — and so 
it will continue through the ages, even to the end of 
time — and beyond, and yet beyond, exhaustless treas- 
ures still will be, in wondrous Music-land ! 



MUSIC. 413 

Most memory systems which have hitherto appeared 
have either been silent regarding- the subject of mu- 
sical-memory, or else have disposed of it in compara- 
tively few words; they have either considered the sub- 
ject of memory-culture in a too general way, or, while 
claiming to cover the whole subject, have really treated 
only certain branches of it. Music not being among the 
number — possibly for the reason that the culture of 
musical-memory was deemed of too little importance 
to require special mention. The fact is, however, that 
in musical-culture the demands upon the attention and 
the recollection are often very great; accurate sight- 
reading and skillful execution require as close a con- 
centration of attention as almost any other kind of task 
imposed upon the human mind; in orchestral work and 
in accompanying on the piano or* organ, the demands 
upon the attention are often very great, and to thor- 
oughly memorize a classical musical composition re- 
quires uncommon patience and perseverance. The 
conductor of a symphonic concert or of a grand opera 
or oratorio needs to be not only a thorough musician 
and to keep his senses alert during the whole perform- 
ance, watching every detail with scrupulous care, but 
he must also be familiar with the composition. A 
Thomas, a Nikisch, or a Damrosch deserves the homage 
due the possessor of talent or genius no less than does 
an accomplished orator or a famed writer; the distinc- 
tion is in kind rather than power. 

The ability to retain musical sounds in the memory 
is largely intuitive; the love of music is inborn, and 



414 THE ART OF MEMORY. 

within certain limits the "strains of melodious meas- 
ure'' which greet the ear are received and retained 
spontaneously; but when these limits are passed — 
when we would advance from mere melody into the vast 
world of musical science; when we would progress from 
the passive power of retaining in the memory a simple 
su(?cession of musical sounds, to the ability to interpret 
the works of the great masters, reliance on the spon- 
taneous action of uneducated musical memory is cer- 
tain to prove delusive — for only by diligent and intelli- 
gent effort, and by a method very different from that 
employed in any other branch of memory-culture, can 
excellence be attained in the memory of music. 

History gives us many instances of remarkable pow- 
ers in the memorizing of music, of which the following 
may be cited: 

Carolan, the greatest of Irish bards, once met a 
noted musician and challenged him to a test of their 
respective musical abilities. The defi was accepted 
and Carolan's rival played on his violin one of Vivaldi's 
most difficult concertos. On the conclusion of the per- 
formance, Carolan, who had never heard the piece be- 
fore, took his harp and played the concerto through 
from beginning to end without making a single error. 
His rival thereupon yielded the palm, thoroughly satis- 
fied of Carolan's superiority, as well he might be. 

Beethoven could retain in his memory any musical 
composition, however complex, that he had listened 
to, and could reproduce most of it. He could play from 
memory every one of the compositions in Bach's "Well 



MUSIC. 415 

Tempered Clavichord," there being forty-eight preludes 
and the same number of fugues, which in intricacy of 
movement and difficulty of execution are almost unex- 
ampled, as each of those compositions is written in the 
most abstruse style of counterpoint. 

Mozart, at four years of age, could remember, note 
for note, elaborate solos in concertos which he had 
heard; he could learn a minuet in half-an-hour, and 
even composed short pieces at that early age. At six 
he was able to compose without the aid of an instru- 
ment, and continued to advance rapidly in musical 
memory and knowledge. When fourteen years old he 
went to Eome in Holy Week. At the Sistine Chapel 
was performed each day Allegri's ''Miserere," the score 
of which Mozart wished to obtain, but learned that no 
copies were allowed to be made. He listened atten- 
tively to the performance, at the conclusion of which 
he wrote the whole score from memory without an 
error. Another time Mozart was engaged to contrib- 
ute an original composition to be performed by a noted 
violinist and himself at Vienna before the Emperor 
Joseph. On arriving at the appointed place Mozart 
discovered that he had forgotten to bring his part. 
Nothing dismayed, he placed a blank sheet of paper 
before him and played his part through from memory 
without a mistake. When the opera of "Don Giovanni'^ 
was first performed there was no time to copy the score 
for the harpsichord, but Mozart was equal to the occa- 
sion; he conducted the entire opera and played the 



416 THE ART OF MEMORY. 

harpsichord accompaniment to the songs and choruses 
without a note before him. 

There are many Avell-attested instances of Mendels- 
sohn's remarkable musical memor3^ He once gave a 
grand concert in London at which his Overture to "Mid- 
summer Night's Dreafn'' was produced. There was 
only one copy of the full score, which was taken charge 
of by the organist of St. Paul's Cathedral, who unfortu- 
nately left it in a hackney coach — whereupon Mendels- 
sohn wrote out another score from memory without 
an error. At another time, when about to direct a 
public performance of Bach's "Passion Music," he 
found on mounting the conductor's platform that in- 
stead of the score of the work to be performed, that of 
another composition had been brought by mistake. 
Without hesitation Mendelssohn successfully con- 
ducted this complicated work of the great contrapun- 
talist, from memory, automatically turning over leaf 
after leaf of the score before him as the performance 
progressed, so that no feeling of uneasiness might en- 
ter the minds of the orchestra and singers. 

Gottschalk, it is said, could play from memory sev- 
eral thousand compositions, including many of the 
works of Bach. The noted conductor Vianesi rarely 
has the score before him in conducting an opera, know- 
ing every note of many operas by memory. It is said 
that Blind Tom, the negro prodigy, knew several thou- 
sand piano compositions by heart; all his faculties 
seemed concentrated into the sense of hearing; he lived 



MUSIC. 417 

and moved in the world of sound, but had little or no 
artistic perception. 

While it is true that no one who does not possess 
true musical instincts can ever hope to attain pro- 
ficiency in the ''Divine Art," it is equally true that, 
however rich may be one's native musical endowments, 
yet without the possession of a retentive memory he 
will never be able to hold his own among artists. The 
piano or violin soloist who cannot play the most dif- 
ficult numbers in his repertoire from memory with 
ease and accuracy, can never hope to ascend above the 
plane of mediocrity as an artist; however excellent 
may be his ability as a reader of music and however 
faultless his technique, these are not sufficient — he must 
play with expression; and this cannot be done with 
fidelity unless the piece is memorized. 

Expression is the aroma of musical performance; 
if this be lacking, if there be not a soulful interpreta- 
tion of the composition, its rendition will not be satis- 
factory to either performer or audience. True expres- 
sion cannot be attained without undivided attention; 
by dint of faithful and intelligent study and practice 
the technical elements of a composition may be so thor- 
oughly memorized that the attention can be devoted 
chiefly to expression, which latter feature is the one 
in which is essentially manifested the superiority of 
the true artist. There is a vast chasm between the 
mere melody-lover and the musician; one moves only 
within restricted bounds; the other, master of the art 



418 THE ART OF MEMORY. 

which he loves, is ever exploring new realms and at- 
taining nobler heights. 

As well ma}' Ave compare the petty politician with 
a Pitt or a Webster; the flippant rhymester with a 
Shakespeare or a Milton; or the dime-novel writer with 
a Dickens or a Scott — as to compare the average person 
who "likes music'' with a trained musician; the former 
only hovers about the outskirts of a world which offers 
to the latter an infinite expanse of wonder and delight 
— a world which might be explored by thousands who, 
through lack of properly directed effort, may never ad- 
vance beyond the outer circle of musical understanding. 

Among those who can perform on a musical instru- 
ment, a vast majority are virtually helpless without 
their notes; and as a result their plajing, how^ever cor- 
rect it may be in a technical sense, is lacking in the 
vital essence — soul; with the attention divided among 
several elements there cannot be a faithful interpreta- 
tion of the composer's conception; thus the rendition of 
the composition is, in a sense, meaningless; it may 
express the letter^ but the spirit it cannot; unless the 
attention be given chiefly to expression, a truly artistic 
performance cannot result. For the adequate render- 
ing of good music it is therefore necessary that it be 
thoroughly memorized — and to attain this end is 
worthy the most intelligent and persevering effort. 

As the piano is the musical instrument which is in 
the most general use, the suggestions which are to fol- 
low will be directed to the memorizing of piano-music. 

We will assume that the student proposes not only 



MUSIC. 419' 

to become proficient technically; in piano playing, but 
also to be able to perfectly memorize a composition in 
the easiest way, and ultimatelj^ to attain a high degree 
of perfection as a musician. 

To begin with, each advance step in the theory and 
practice of music should be taken only after the route 
already travel sed shall have become entirely familiar; 
the rudiments must be fully mastered, every detail be- 
ing drilled into the memory until it cannot be forgot- 
ten — and thus little by little, step by step, will the 
student advance in musical knowledge. 

Thoroughness is the main road that leads to suc- 
cess in any art. Who has not heard the story about 
Michael Angelo, who was putting the finishing touches 
to a magnificent painting — w^hen a friend who had 
been watching the artist putting dainty strokes of the 
brush here and there, that were scarcely perceptible, 
said to him: "Why do you spend so much time on your 
picture? all these little touches are but the merest 
trifles!" "Ah!" said Angelo: "But trifles make per- 
fection, and perfection is no trifle!" 

None of the great virtuosos in music become so ex- 
cept through thoroughness and hard work. Paganini, 
who wrote music of such technical difficulty that no 
one could pla^^ it but himself, used to practice single 
passages for ten hours at a time. 

The keys of Handel's harpsichord became so worn 
by practice that they were hollowed like the bowl of a 
spoon. 



420 THE ART OF MEMORY. 

Wieniawski, the famous Polish violinist, said that 
in order to retain his technique he was obliged to prac- 
tice fully three hours each day, and that if he missed 
a single day he felt the difference in his power of ex- 
ecution very perceptibly. 

To the intelligent student it would seem superflu- 
ous to advise that all studies should be pursued under 
the guidance of a competent teacher, that wrong habits 
be not allowed to obtain a foot-hold — for Dr. Johnson's 
words: ''The chains of habit are generally too small 
to be felt till they are too strong to be broken," are as 
applicable to the practice of music as to anything else, 
and too much care cannot be exercised in the choice of 
an instructor. 

In memorizing a musical composition the following 
order of procedure is advised: 

First: Memorize the score. 

Second: Memorize the technical part. 

Third : Interpret the composition. A musical score 
furnishes in itself a great many landmarks, or guide- 
posts, by means of which the student can impress the 
various details of the composition on his visual mem- 
ory. No two lines of a piece of music look exactly 
alike, and by this contrast in appearance is the student 
enabled to more easily fix in his visual memory the vari- 
ous features of the composition; and with properly di- 
rected study, in a short time the visualizing faculty 
can be so well cultivated that a score of moderate 
length can be carried in the visual memory .for a con- 



MUSIC. 421 

siderable period with ease and certainty. The student 
should observe — 

First: The Key. 

Second: The Time. 

Third: The Movement, or Tempo. 

Fourth: The Marks of Expression. 

Fifth: The position of the Notes. 

While the main body of the composition is presum- 
ably written in the key indicated by the signature, yet 
changes of key may occur, which are indicated either 
by a change of signature in each case, or by the sharp- 
ing or flatting of such notes as are necessary to accom- 
plish the same purpose. The student should so famil- 
iarize himself with the notes representing the keys that 
he can readily tell what key any part of the composi- 
tion is in; and he should make a mental record of the 
places in the score where the changes of key occur; 
the points where passages are repeated should also be 
carefully observed, if there be any. 

Next should be noted the time, and w^hether the orig- 
inal time is maintained throughout the piece, or, if 
there are changes of time, what they are and where 
they occur. 

The student should next notice whether the Move- 
ment, or Tempo, is Presto or Largo, or any of the inter- 
mediate degrees; if there are any changes of move- 
ment a mental note should be taken of what they are, 
and of the places where such changes occur. 

The various marks of expression and w^here they are 
placed, should next be carefully studied — for by these 



422 THE ART OF MEMORY. 

signs is the phrasing indicated, with all its rich possi- 
bilities of variety — which may properly be termed the 
arcJiUccture of music. By these means does the com- 
poser indicate his ideas — signify the inner meaning of 
what he has written, that the performer may under- 
stand for himself and interpret to others the composer's 
own conception of how the composition should be ex- 
ecuted to faithfully represent its motive; its fidelity of 
interpretation will depend on the performer's sympathy 
with the sentiment of the composer — which must be a 
matter of inner consciousness and cannot be expressed 
in positive terms any more than can the magnetic effect 
of a great oration, or the noble strains of a patriotic air 
played by a grand orchestra; the key, the time and the 
movement are the mechanics of music ; expression is its 
soul. 

Last of all, and supremely essential from a technical 
standpoint, the position of the notes should be carefully 
observed. By this is meant, not that the situation of 
each particular note should be memorized, but that the 
location of the most important ones should be mentally 
noted, especially those notes which carry the theme. 
It is more important to have the first note of a measure 
impressed on the visual memory than any of the others, 
as, being the only accented note where there are three 
or less beats to the measure, and having the primary ac- 
cent where there is a greater number, it gives at least 
a hint of the notes which immediately follow. The 
highest and the lowest notes, and the particular notes 
which begin and end each page, serve as musical land- 



MUSIC. 423 

marks of which excellent use can be made; and it is 
also well to note the difference in the rhythmic struc- 
ture of various measures. 

An association of dynamic signs and marks of ex- 
pression with contiguous notes is an important means 
of fixing the position of both in the memory — such as 
noticing where piano and forte passages begin and end ; 
w^here staccato or sostenuto notes are introduced; at 
what places accelerando and ritenuto passages occur, 
etc. 

In memorizing the position of notes on a musical 
score it is best to study the treble staff first, and the 
bass last, as the theme or melody is usually carried by 
the former — familiarity with which will enable the stu- 
dent to more easily memorize the latter, w hich, while it 
may be said to constitute the foundation of the struc- 
ture, yet is subsidiary to the treble; the bass is always 
written last, never first. 

If the foregoing suggestions are faithfully followed 
for a reasonable time, the student will find that he can 
accomplish the visual memorizing of a musical score 
of moderate length with comparatively little effort, and 
that the practice will be not only profitable, but inter- 
esting. He is advised to familiarize himself with the 
various details in the order indicated, gaining a mastery 
of each before the next is taken up. 

Having memorized the score, the next step is to 
learn to plaj^ the notes with mechanical correctness 
without looking at the music. Experience has demon- 
strated that in order to best accomplish this the two 



424 THE ART OF MEMORY. 

parts should be practiced separately, the proper finger- 
ing being first carefully studied for each case, that the 
technical difficulties may be reduced to a minimum. 
Except when it is desired to cultivate the faculty of 
sight-reading, the rapidity of practice should be limited 
to the ability of the student to play the notes with me- 
chanical correctness, even though at first it may be 
much slower than the proper tempo, which latter is often 
so rapid as to tax the skill of a practiced player. The 
speed may be gradually increased as the piece grows 
familiar, until the player can execute each part sepa- 
rately in tempo; then both parts should be practiced 
together in the same manner, those passages w^hich are 
the most difficult being played over and over until they 
can be executed with the same smoothness and cer- 
tainty as the simpler ones, until all parts are equally 
familiar. 

As practice progresses the student will learn to 
form easy and natural associations of the various parts 
with each other and with the score, and in these asso- 
ciations rliijtlim will form an important feature — for 
rhj^thm is the very life of every artistic performance, 
and corresponds to inflection in reading or speaking; 
every now^ and then syncopated passages are likely to 
occur, which may be compared to quotations, whose 
very infrequency tends to impress them on the memory 
with especial significance. 

In the preliminary stages of technical study, an ex- 
cellent way to impress the sounds of the various notes 
on the memory, as well as hasten the acquirement of 



MUSIC. 425 

technical perfection, is to emphasize the rhythm by ex- 
aggerating the accent. When such object shall have 
been attained the excess of accent may be dispensed 
with, and practice continued on the lines of a faithful 
rendering of the piece, from a mechanical standpoint. 

But after all, technique, essential as it is, serves as 
but a means to an end — the interpretation; without that 
the composition cannot be intelligently performed; 
technique is an invaluable servant but a very undesir- 
able master — therefore its attainment ought not to be 
sought at the expense of that culture which transcends 
all technical acquisition — the power of expression. 

Having now progressed so far as to be able to play 
the notes with technical correctness without having 
recourse to the score, the student is prepared for the 
final step' — the interpretation of the composition. 

If this step be not taken, what has already been 
learned is as the formless block of marble before a 
Pilon has chiseled out of it his matchless ^'Three 
Graces,'' or the naked canvas before it has received the 
magic touch of a Leonardo, or a Kaphael; it is like a 
majestic landscape, whose resplendent beauty might 
thrill the soul of poet, or peasant, but lies hidden in the 
sable garb of night — before the beaming orb of day has 
risen above the eastern hills to unfold the scene to 
mortal view. It is like the fiery w^ords of an Othello or 
the impassioned phrases of an Antony uttered by a 
drawling dullard, rather than by a Garrick or a Kean. 
Put the words of an oration in the mouth of him who 
has it not in his nature to appreciate their true sig- 



426 THE ART OF MEMORY. 

nificance, and they are commonplace and. lifeless — but 
put these same words upon the lips of a Calhoun, a 
Choate, a Pitt, or a Fox, and they become instinct with 
life and thrill the hearts of listening thousands. 

And so with Music; the beauty and grandeur of a 
"Beethoven" Sonata, the fire and passion of a "Liszt" 
Rhapsody, or the grace and tenderness of a "Chopin" 
'Nocturne, is but faintly conveyed if played by an aver- 
age amateur; but under the inspiring touch of a Pad- 
erewski or a Joseffy it becomes a revelation! the one 
is but a combination of harmonious sounds — the other 
reveals the idea of the composer; the one is a shadow 
— the other is the substance, in all its true sublimity. 

How are we to give expression to the composition? 
— to breathe life into it, and give it color and form? 

Let it be remembered that in music, as in literature, 
there are phrases, sentences, and paragraphs; some 
are hon mots, drawn from a seemingly inexhaustible 
treasure of wit and humor; others are graceful and 
flowing; others brilliant and picturesque; some are 
tender and pathetic, and some profound and majestic — 
each distinct and recognizable by him who possesses 
true artistic perception. The ability of the player to 
execute a composition with fidelity to the score and 
yet have another subject engross his mind at the same 
time may, it is true, constitute technical perfection — but 
to insure an artistic performance, the mind, instead of 
drifting about at haphazard, must be concentrated on 
expression ; to do this the player must have within him 
the germs of true musical feeling; if he be thus en- 



MUSIC. 427 

dowed he can by proper training become a cultured 
musician; if there be expression in his soul, it can be 
imparted to his finger-tips, and with proper application 
he can learn to interpret the works of the great masters 
of music; but natural musical instincts he must have 
to begin with; and he must study the right kind of 
music, in the proper manner. More than this there can 
be but little said; no definite rules can be laid down 
for giving true expression to a musical composition; 
the letter can be indicated, but the spirH must exist 
within the player himself; the garb in which expres- 
sion should be clothed may be described down to the 
finest detail, but there must be a soul within the rai- 
ment — the heart, no less than the head and the hands, 
should be trained; its finer sentiments, its higher im- 
pulses, should be developed by proper exercise; then, 
and not until then, can a worthy musical composition 
be truly interpreted. 

The selection of compositions for memorizing is a 
matter whose importance cannot be overestimated. 
The musical as well as the moral nature may, by being 
fed with improper food, lapse into a stagnant and un- 
healthy state, or it may, under auspicious conditions, 
expand into most noble proportions gathering new life 
and symmetry through ever recurring communion with 
the "choice and master spirits'' of the Divine Art. In 
the early stages of study, while the musical taste is yet 
in embryo, it is best to leave the selection of composi- 
tions for practice to a competent teacher, whose judg- 
ment will be far superior to the student's as to the 

31 



428 THE ART OF MEMORY. 

character of composition ayMcIi is best suited to his 
abilities. In no case should an inferior class of music 
be tolerated in the student's repertoire; the trashy com- 
positions which infest many of our music stores should 
be shunned, as they demoralize the taste, and operate 
as a barrier to progress in musical culture. Especially 
should works of the great masters constitute the warp 
and woof of his study, until their sentiment is wrought 
into the very fibre of his being. The student need feel 
no apprehension that he may become too classical in his 
tastes; the "classical,'' in music, means its highest de- 
velopment, and he who attains to a true understanding 
of music may dwell in a world of serene exaltation 
whose beauties and wonders are ever expanding; he 
may revel in a perennial feast of sublime sentiment; of 
that inspiration which belongs only to genius, to which 
the peerless creations of such masters as Beethoven, 
Mendelssohn, Mozart, or Wagner, bear abundant testi- 
mony — creations which cannot but be the "applause^ 
delight, the wonder" of mankind through all time. 

In committing to memory a musical composition, 
as in other kinds of memorizing, the student should be- 
gin with small tasks, to be gradually increased as the 
capacity for learning them develops, and with consci- 
entious, intelligent study, the student will in time be 
able to accomplish with ease that which he would at 
first have deemed quite impossible: 

"One xh'mg at a time, 
And that done well," 



MUSIC. 429 

is as useful a maxim to be followed in memorizinir a 
musical composition as in any other line of effort; each 
detail should be fully mastered before the next is com- 
menced — and thus, little by little, will proficiency be 
acquired. 

Besides patience, determination and assiduity, an- 
other important requisite is self-confidence — and in no 
way can this be so quickly attained as by playing be- 
fore an audience. At first the player will no doubt 
feel more or less embarrassed; many a person has thor- 
oughly memorized a composition, only to find himself 
all at sea on attempting to play it before an audience, 
and perhaps forced to the humiliation of a complete 
break-down — which might have been avoided had he 
acquired self-possession by frequently playing in the 
presence of others, and attained such a power of ab- 
sorption as to become oblivious, for the time, to all his 
surroundings — for the possession of this faculty is in- 
dispensable to the artistic interpretation of a musical 
composition. 

VOCAL MUSIC. 

"Let me write a nation's songs, and I care not who writes its 

laws." VOLTAIBE. 

"Then read from the treasured volume 
The poem of thy choice; 
And lend to the rhyme of the poet 
The beauty of thy voice." 

Longfellow. 



430 THE ART OF MEMORY. 

"My soul is an encbaKted boat, 
Tliat like a sleeping swan doth float 
Upon the silver waves of thy sweet singing; 
And thine doth like an angel sit 
Beside the helm conducting it; 
Whilst all the woods with melody are ringing." 

Shelley. 

As Poetry is more easily memorized than Prose, so 
Music is a most powerful aid in the memorizing of 
poetr^^ The melody of a song is frequently the key 
by whose help the words are recollected, and it often 
happens that the melody will cling to the memory after 
the words have vanished from remembrance. 

Through the power of Association the words and 
the air may be so linked together in memory that the 
revival of either recalls the other, the recollection of 
the melody being usually the least difficult. 

There is no influence in life which surpasses that of 
song, on the human emotions. The singing of a simple 
song has brought back many a tender memory; it has 
softened many a pitiless heart; it has been the inspira- 
tion of many a noble action. In the sanctuary, on the 
battle-field, at the fireside — everywhere — song wields 
an influence beyond the power of tongue to describe or 
pen to portray. The vital reason of this is that in a 
well written song the musical ideas and the words are 
wedded, the sentiment of the latter being accentuated 
through the medium of melody and rhythm, and pro- 
ducing an effect on the emotions not possible by means 
of the words alone — even in the case of hearers with 



MUSIC. 431 

little or no musical knowledge — while in instrumental 
music a high order of artistic taste is necessary in order 
that the composer's ideas may be interpreted with 
fidelity. In (spoken) language but few shades of emo- 
tion or sentiment can be exemplified; in Music the pos- 
sibilities of expression are beyond computation. As 
the highest significance of Love cannot be indicated in 
set terms, neither can the fullness of musical expres- 
sion — whose signification words are impotent to convey. 

One of the most notable instances of the wonderful 
power of song over human passion is told of Stradella, 
a celebrated Italian composer and singer of the seven- 
teenth century. On account of a love affair he had 
incurred the enmity of a nobleman, who hired two 
bravos to take the composer's life on the first good op- 
portunity that presented itself. Stradella had just left 
for Rome, whither the assassins followed him. Learn- 
ing that on the next day he w^as to sing the leading part 
in an oratorio which he had just composed, they ob- 
tained entrance to the theatre and concealed them- 
selves behind the scenes, intending to stab him to death 
when he was off his guard; but they were so deeply 
affected by the music that when the critical moment 
came their hearts failed them, and on Stradella's retir- 
ing from the stage they confessed their mission and 
begged him to leave liome at once and thus save his 
life. 

The marvelous results achieved by the most noted 
evangelists are due in no small degree to the power of 
music — pathetic songs or hymns being introduced at 



432 THE ART OF MEMORY. 

favorable intervals during their services. The wonder- 
ful success of Moody and Sankey, Whittle and Bliss, 
and other revivalists, is a well-known illustration. 

Who that ever heard Titiens sing "Kathleen Ma- 
vourneen," or Adelaide Phillips sing "The Rosebush,^' 
or Patti, "Home, Sweet Home,'' can ever forget the 
effect produced by those pathetic strains? Such songs 
as Schubert's "Erl King," "Wanderer," and "Serenade;" 
Beethoven's "Adelaide," and Gounod's ''Salve di Mora^^ 
must ever stand out among the noblest gems that ever 
emanated from the soul of genius. The heroic meas- 
ures of the Marseillaise and the "Star Spangled Ban- 
ner," the gently flowing phrases of "Sweet Afton" and 
Kucken's "Slumber Song," and the plaintive strains of 
"Auld Robin Gray," "Land o' the Leal," and "Robin 
Adair," will issue from human lips when the temples 
and palaces and monuments which are the wonder and 
pride of our age shall have crumbled into dust; songs 
like these can never die — and yet they are all simple in 
sentiment, devoid of embellishment. 

Yes, it is the simple songs that live; the songs that 
appeal to the great heart of humanity; that express 
the sentiments and emotions of all mankind. The 
secret of it is that there is in them the harmonious 
union of sentiment in words and melody — which there 
must be for the hearts of men to be swayed by the 
power of a song. A poem of lofty conception set to 
waltz music, or one of humorous nature clothed in 
sombre garb would be the height of incongruity; the 
songs that live are written as by inspiration; how it is 



\^ 



MUSIC. 433 

done and why they live cannot be expressed in formal 
terms — it is so — that is all; there is a true unity of 
words and music which one possessed of musical in- 
stincts can appreciate, but not explain. 

Then, too, there is the way in which a song is sung; 
the interpretation must be faithful; the singer must 
feel what he is singing; if he does not neither will 
those who hear him be affe(^ted; as Cicero says: "Let 
him who wishes to move the feelings of others show 
that he himself is affected.'^ 

But there is no reason why any person with musical 
instincts and possessed of even a moderately good voice 
cannot become a true artist. Other things being equal, 
a person thus endowed by nature who can sit down at 
the piano and sing with expression a few well-chosen 
songs from memory, playing his own accompaniments, 
is certain to not only derive therefrom a world of en- 
joyment, but also to confer real pleasure to all who 
hear him, and he will be a welcome guest at many a 
hearthstone to which he would otherwise have ever 
remained a stranger; and why such a large proportion 
of singers are, when invited to sing, obliged to depend 
on their notes, or an accompanist, or both, is due more 
to their lack of diligent, intelligent practice, than want 
of musical ability. 

This need not be; a person having a voice of pass- 
able quality to start with, and who is endowed by 
nature with even ordinary musical ability, with fairly 
good opportunities for its development, should possess 
a goodly repertoire of songs which he can sing from 



434 THE ART OF MEMORY. 

memory with expression and to his own accompani- 
ment; and this can be done by properly directed effort. 

Most singers are poetical in their nature — they can- 
not be otherwise, for Music and Poetry are twins; the 
love of either commonly carries with it the love for 
the other, and therewith a natural facility for memo- 
rizing it; simple songs seldom have other than simple 
accompaniments, and thus it rarely happens that seri- 
ous technical difficulties have to be overcome to attain 
the desired object. 

It cannot be impressed on the student with too 
much emphasis that, aside from the gratification which 
the singer himself may derive through the exercise of 
his accomplishment, the main purpose of it is to im- 
press others; to cause the sentiment of the song to 
affect them as it does him; to lift their souls, as his, in 
sublimity, or move their hearts with tenderness or 
pathos, or fill their spirits with gayety — whatever may 
be the meaning of that which he is interpreting. This 
can be done when the singer is filled with the senti- 
ment of the song and is oblivious for the time to all 
external influences; and in proportion to his own faith- 
fulness of interpretation will his hearers be affected; 
he himself must feel the true spirit of his song if he 
would have them feel it. 

Suppose that two attorneys of equal powers are to 
address a jury in a case which is likely to be decided 
by sentiment rather than the sober judgment of the 
jurors. One of the lawyers reads his argument from a 
carefully worded manuscript; the other, ignoring ex- 



MUSIC. 435 

ternal aids, talks straight from the heart; is there any 
question what the verdict is to be? Imagine an Ers- 
kine, a Choate, or an Ingersoll, addressing a jury from 
manuscript! 

Compare the preacher who reads his sermons with 
one who talks to his congregation — which one makes 
the deeper impression? What "manuscript^' preachers 
can compare, in influence over a congregation, with 
such sublime pulpit orators as were Whitefield, Chalm- 
ers, and Spurgeon? Who ever heard of Chatham, Burke, 
or Fox reading a speech to the House of Commons? or 
Webster, Calhoun, or Conkling speaking to the United 
States Senate from manuscript! So is it in song; the 
impulses of men cannot be stirred, their hearts can- 
not be touched, except the speaker or singer abandon 
himself to the sentiment of his theme; that he cannot 
do if there be aught to distract his attention; in other 
words, he must memorize his theme; the speaker must 
memorize its spirit and the singer its letter as well as 
its spirit. 

The ability of a singer to carry in his memory a 
goodly number of songs which he can sing with taste 
and feeling, playing his own accompaniments, is worth 
all the study, however arduous, which may be devoted 
to it, for the satisfaction both of feeling independent 
of mechanical aids, and of being able to "wreak the 
thoughts upon expression/' Mechanical singing soon 
grows tiresome, however fine the voice and correct the 
phrasing, for the vital principle is lacking — there is 
no soul behind it all; if the singer does not possess in- 



436 THE ART OF MEMORY. 

spiration he cannot impart it; he is a mere machine; 
the letter he may translate — but not the spirit. 

In memorizing a song so that it may be rendered 
with fidelity of expression, the melody will naturally 
be learned before the words, and it will be done with 
less effort; and perhaps no better advice can be given 
for memorizing a melody than to suggest the strictest 
attention and the avoidance of unnecessary repetition, 
that the student may not tire of the song before all its 
details shall have been fully mastered. 

The melody having been learned, the words should 
be memorized and associated with the melody, careful 
note being taken of any rhythmic differences in the 
stanzas. The melody of a song is usually written to 
correspond with the rhythm of the first stanza; there 
may be other places, however, where the singer needs 
to adapt melodic rhythm to the rhythm of the text — 
which is of importance to insure a proper interpreta- 
tion of the song. 

Attention should next be given to the punctuation 
of each stanza, the "breathing spots'' — care being taken 
to place them at natural intervals in the text, never 
between syllables, nor too far apart. 

It is necessary to then study the marks of expres- 
sion, and when he shall have familiarized himself with 
them the student should try to sing the song through, 
independently of both the notes and the piano. This 
is a very essential feature of the practice, that the 
student may the more readilj^ detect any errors of in- 
tonation, phrasing, or of any other character, which, 



MUSIC. 437 

being stripped of all disguise, are thus made to stand 
out with uncommon prominence. When the student 
can sing the song through correctly without the aid of 
the piano, the accompaniment should be learned, inde- 
pendently of both the melody and words, the fingering 
and phrasing being as carefully studied as in that of an 
instrumental solo. Upon this being accomplished the 
whole should be practiced together until it can be ren- 
dered with absolute correctness, the accompaniment 
being executed almost unconsciously, and the vocal 
tones produced with like facility, and yet with sym- 
pathetic expression. By this time it may be assumed 
that the student has, through familiarity with the song, 
become more or less imbued with its spirit and is able 
to express its general sentiment with reasonable fidel- 
ity. He should then study the expression with the ut- 
most care, giving the closest attention to every detail 
which will tend to bring out the meaning of the song; 
this should be continued until, while singing, he can 
put himself in complete sympathy with the very soul 
of the song. Mrs. Siddons, while acting some of her 
most impressive parts, actually believed herself for 
the time to be the very character she was representing, 
so did Talma, the greatest of French actors — also Kean, 
Salvini and others. 

Tills complete absorption into the spirit of that 
which is being interpreted evinces a true artist; and 
the vocalist w^ho when singing a song can the most 
thoroughly divest himself of self-consciousness and put 
himself into the most complete sympathy with the soul 



438 THE ART OF MEMORY. 

of his song, has advanced the farthest in artistic ex- 
cellence. 

It by no means follows that proficiency in the mem- 
orizing of vocal music and its faithful rendering, in- 
cludes the learning by heart of the accompaniments 
also, which is advised onl}^ in the case of simple songs 
where the accompaniments are within the technical 
ability of the singer to perform, without the sacrifice 
of expression in singing. Many of the noblest songs 
that ever issued from the soul of genius have accom- 
paniments too elaborate for the singer to perform him- 
self, with justice to the vocal interpretation; in such 
cases the singer should not try to memorize them, but 
secure the services of a skilled accompanist when sing- 
ing to an audience. 

The habit of now and then reviewing one's acquire- 
ments in vocal or instrumental music is one whose cul- 
tivation is of the highest importance. If a piece of 
music is worth learning at all it is worth retaining in 
the memory, and having once been memorized it should 
be preserved at whatever cost of time and labor — and 
the only sacrifice necessary is to sing or play it over 
now and then, to be sure that it can be produced on 
demand. While the memory should be trusted, it 
should not be imposed upon; it is not divinel^^ insti- 
tuted to be infallible at all times, and the student who 
imagines that whatever he once puts away in his mem- 
ory is certain to remain there indefinitely without the 
slightest attention being paid to it, is certain to be 
grievously disappointed. 



MUSIC. 439 

And now we come to a feature of musical culture 
different from any which have yet been discussed; from 
a tru'e musical standpoint it may be considered the 
crowning acquirement of them all. It is the ability 
to appreciate a first-class musical performance of what- 
soever character — and this may be accomplished by 
simply being a good listener, even though the theoret- 
ical and technical musical knowledge be slight. 

While there is an adage that "he cannot appreciate 
a musical composition who cannot appreciate its diffi- 
culties/' yet that is only partly true, for it by no means 
follows that elaborate compositions containing uncom- 
mon technical difficulties are superior in true musical 
worth to pieces which are simple in construction but 
more melodious than the others. It is true that an 
intimate knowledge of the theory and practice of music 
is essential to the highest appreciation of a musical 
performance — but it is also true that a person who 
possesses an instinctive love of the "Divine Art" may, 
even though lacking in musical education, so train his 
faculties that he can listen to a symphony, or other 
classical musical performance, and retain in his memory 
its essential details. Excellent musical critics there 
are who have become so not through profound knowl- 
edge of the laws of harmony, but by listening frequent- 
ly and attentively to only the best class of music. By 
these means they have cultivated their memory of 
musical sounds to a high degree of perfection — from 
the simple notes of a ballad to the interwoven strains 
of a "Beethoven'^ symphonj-, or a "Wagner'^ overture, 



440 THE ART OF MEMORY. 

whose majestic measures represent the most consum- 
mate touches of the composer's art. 

That is a very different thing from memorizing the 
melody, words, and accompaniment, of a song, or the 
score and instrumentation of a composition written for 
any musical instrument. In the case last mentioned, 
what the student has memorized may be enjoyed by 
others as well as himself; but the rapture imparted 
by the thrilling strains of a grand orchestral perform- 
ance cannot be transmitted by the listener to others — 
it can survive only in his own memory. 

It being possible, if he be within a favorable en- 
vironment, for a person of native musical instincts not 
versed in the theory and practice of music, to attain 
excellent powers of musical criticism, the following 
suggestions are given for his guidance: The student 
who wishes to attain this end need not expect to ad- 
vance rapidly — he must be content to begin at the bot- 
tom of the ladder and climb slowly — to proceed from 
the simple to the complex — not by bounds, but step 
by step; he must groiv in musical understanding, and 
the growth must be natural, not artificial. 

The ordinary listener to an artistic orchestral per- 
formance does not, and cannot, gain more than the 
faintest idea of its merit; he hears, but not with un- 
derstanding — and thus there appears a vagueness about 
it all which he cannot fathom; and yet in a great 
orchestral work there is not a note that does not rep- 
resent a musical idea; nothing is written at haphaz- 
ard, just for the sake of "filling in" — every note is set 



MUSIC. 441 

down with a definite purpose in view; but if the lis- 
tener has no conception of that purpose, many of the 
most delightful harmonic effects and exquisite touches 
of phrasing are, in a sense, lost on him, and he goes 
away w^th only the most superficial idea of what he 
has listened to; and yet it is within his power to so 
train his ear, his taste, and his memory, that a grand 
symphonic concert will be to him a veritable feast of 
delight — not only while he is listening to it, but in all 
after-time; its euphonious echoes will often reverbe- 
rate in the chambers of his memory, filling many an 
otherwise dull moment with gladness and inspiration. 
A musical feast does not terminate with the ringing 
down of the curtain: it may be partaken of again and 
again in happy memory by him who rightly hears it; 
that which once seemed intricate and obscure becom- 
ing simple and coherent. 

If that master-mind of music — Beethoven — could 
evolve from the depths of his imagination such a tow- 
ering monument to his surpassing genius as his won- 
derful Ninth Symphony, when unable to hear a sound — 
why should it not be possible for him who can hear a 
fine musical performance to so hear it that he can carry 
its essence, at least, in his memory for many a day? 

It is possible, and the secret lies in possessing the 
power to concentrate the attention upon any single in- 
strument, however great or little its prominence. 

In a great central telegraph office the click of many 
instruments may be heard at the same time, there 
seeming to the bystander to be an interminable chaos 



442 THE ART OF MEMORY. 

of sounds; but the skilled operator has so trained his 
ear and his attention that he can exclude tlierefrom 
the sounds of all but one instrument — whichever one 
he wishes. So may he who listens with understand- 
ing to a great orchestral performance hear only the 
instrument tliat he chooses, and follow the theme from 
one instrument to another as each takes it up, and 
trace the echoes and responses, the lights and shades, 
the sweet melodies and ^rand harmonies, as thev crowd 
upon the enraptured ear. All this may the music 
lover achieve if he wills so to do; let him study intel- 
ligently and school himself to be patient and persever- 
ing, beginning at the simple and advancing by degrees 
towards the complex, and as each step is taken new 
interest will be awakened and ultimate proficiency the 
more assured. 

To begin with, let the student listen attentively to 
a simple melody — one that he has not heard before — 
a hymn or a ballad — and then try to reproduce it from 
memory. If not entirely successful at first let him try 
again and again, and ere many trials he will find him- 
self able to recall almost any simple melody of rea- 
sonable length after a single hearing. 

Let him next take up the various parts in a vocal 
quartette, listening to only one part at a time; it is 
not necessary that he should commit each part entirely 
to memory — the chief purpose being to cultivate the 
ability to Vxsten to it, excluding all other sounds from 
the ear and endeavoring to retain only such portions 
as contain a melody, however short. An easy way of 



MUSIC. 443 

securing this practice is to attend regularly some 
church where there is a good quartette choir, with 
w^ell-balgnced voices — the singing of the hymns and 
anthems affording excellent opportunities for the stu- 
dent to practice concentrating his attention on any one 
part. Having mastered this task, let the student lis- 
ten to the soprano and bass together until both parts 
can be heard separately and yet together; then let him 
associate with the soprano, the alto and tenor, each in 
turn, until he can heai' the two parts as before. When 
that is accomplished the student will have advanced 
to a point where his study will possess a far greater 
relish than at first; the singing of an anthem will con- 
vey to him a different meaning from ever before, and 
he will find rare enjoyment in listening to all the four 
parts at once and thus further cultivating his powers 
of concentration. This practice should be continued 
from week to week, as long as is necessary to secure 
satisfactory results. The student should also attend 
first-class vocal and instrumental concerts as often as 
possible, which will greatly assist his advancement. 

But the grand opera and the symphony furnish the 
crowning opportunities for cultivating to the highest 
possible degree the musical taste and powers of criti- 
cism. The peculiarities of tone possessed by each of 
the different orchestral instruments afford the com- 
poser the most ample scope for the exercise of his gen- 
ius and therefore render possible the greatest depth 
and variety of ideas for interpretation. To make sat- 
isfactory progress in the study of this most advanced 

32 



444 THE ART OF MEMORY. 

form of musical production, it is not enougti to attend 
the public performances of the operas, symphonies, or 
other orchestral compositions; the student should try 
to be present at all the rehearsals also, and thus by 
hearing the compositions many times over, he may 
grow, as it were, into a knowledge of their qualities of 
excellence — an appreciation of which cannot possibly 
be gained at a single hearing, however attentive and 
cultivated the listener. If the student would acquire 
an intelligent conception of a great orchestral compo- 
sition he must hear it performed over and over again, 
that its strains of gladness and of pathos, of tenderness 
and of passion, of hope and despair — ^the varied lights 
and shadows of musical expression — may be imprinted 
on his memory in colors that can never fade. 

These suggestions are offered to students to whom 
a musical education has been denied, but who are de- 
sirous of so cultivating their musical faculties that 
they can appreciate and can carry in memory the es- 
sential details of a classical musical performance. For 
the educated musician the road will be easier to travel 
and greater heights can be attained; through his 
knowledge of the laws of harmony, and the consequent 
ability to prosecute his studies on a scientific basis, he 
has a decided advantage over the one without musical 
knowledge — but the same general plan should be fol- 
lowed in his case also. 

In the cultivation of the musical memory there is 
this to be truly said which cannot be done in the case 
of any other branch of memory culture^ — it is the most 



MUSIC. 



445 



thankful of them all; it pays the highest interest on the 
capital invested; its delights are lasting — not merely 
ephemeral. Music affects the emotions only, not the 
intellect; it has a most wonderful power to soothe, to 
cheer, to exalt; it is a perennial well-spring of glad- 
ness; its supply is unfailing. 

And as music is, so is its memory: We can tliinlc 
the strains of a familiar song, and it seems as if we 
once more heard them in all their native beauty, and 
they linger in the memory and continue to delight us 
with their tender accents and to remind us of the cir- 
cumstances under which they first were heard. 

"The music in my heart I bore, 
Long after it was lieard no more." 

The world of music is a world by itself, and they 
who enter it leave behind all cares, all sorrows, all 
resentments — and in the melodies and harmonies 
which there swell forth in measures of grandeur and 
delight, find sweet tranquillity and joy untold. 

But he who would enter this world can do so by 
no royal road: it must be by patient, persistent, intel- 
ligent effort; it must be by the right cultivation of 
those faculties which have the most direct bearing on 
the object to be achieved. 

And not the least important is Memory. 



CHAPTER XVIII. 



VAGAEIES OF MEMORY. 



"But this mysterious power tihat binds our life together has its 
own vagaries and inteiTuptions." Emerson. 

"Ideas * * * often vanish quite out of the understanding, 
leaving no more footsteps of remaining characters of ihemselves 
than shadows do flying over a field of com." Locke. 



While it is true that the degree to which the mem- 
ory is possible of development through proper training 
surpasses all conception of the ordinary mind, yet it is 
no less true that in spite of all the culture which may 
be bestowed upon this faculty — with all its remarkable 
power of reproducing impressions of the past, and its 
wonderful fidelity to detail — still it will now and then 
play its possessor very strange tricks. 

For instance, it may give us only a portion of what 
we are in want of, and stubbornly refuse to yield up the 
rest, however persistently we coax, and even goad it. 
Perhaps we wish to recollect a person's name, and for 
our very life we can recall only the first letter or two; 

(446) 



VAGARIES OF MEMORY. 447 

or perchance we start in with all the confidence im- 
aginable to quote a well known proverb or a passage 
from some familiar poem — when to our discomfiture we 
find a impossible to proceed beyond a certain point; 
we try again and again to no effect, and then regret 
most keenly that w^e made the attempt! As likely as 
not the missing letters or words will turn up in our 
memory soon afterw^ards, but the meet occasion for 
their use is past, and our embarrassment fully accom- 
plished — so there is nothing left for us but whatever 
consolation w^e can derive from the reflection that our 
memory was not really defective, but only happened 
to be a little tardy in responding on that exceptional 
occasion! The fact is that even the best memories are 
not to be trusted at all times and under all conditions; 
w^hat may be recalled with ease at one time, perhaps 
cannot be revived in the memory at another by our 
most strenuous exertions. 

How^ever we may felicitate ourselves on the power 
and reliability of our memory, yet experience forces us 
to the conclusion that it has an element of treachery 
about it after all; we intrust something to its custody, 
relying implicitly on its fidelity — but at some critical 
moment, w^hen we make a demand for temporary use 
only, of that which we placed in the safe-keeping of 
memory, we find it to be most provokingly recreant to 
its trust — our self-pride at the same time receiving a 
shock of no slight severity! And not only is our mem- 
ory liable to be extremely unfaithful when we have 
especial need for its loyalty, but sometimes it assumes 



448 THE ART OF MEMORY. 

to furnish us with what we are seeking, assuring us in 
the most emphatic terms that its information comes 
from an infallible source, when it is really in the wrong! 
The most notable instances of the latter shortcoming 
are those in which mental pictures are most easily 
formed of what is sought to be recollected — as is es- 
pecially the case with words and figures; thus remarks 
are inaccurately quoted; prose or poetical passages are 
inexactly cited, and statistics and other information in 
which numbers are involved are incorrectly repeated. 
Mistakes as to the lapse of time are also common. 

And to whom has not the experience occurred of 
complete failure of the memory to properly respond at 
a critical time? A name that we deemed to be thor- 
oughly intrenched in the memory may fail to come 
forth at our command — through which cause we may 
be placed in an embarrassing, and even ridiculous, po- 
sition; or perchance some familiar phrase may refuse 
to issue from our lips when we have a pressing use for 
it; or it may be that we find ourselves unable to 
promptly recall some familiar fact. 

When abnormal conditions exist, affecting the brain 
or body, or both, the disease may so peculiarly act upon 
the memory as to cause a partial or total lapse thereof, 
often producing the most inexplicable results; indeed, 
next to the marvelous degree to which the memor}^ can 
be developed, the most curious and remarkable fact is 
its lapse; through sickness or some shock to the senses 
the impressions of years may be completely obliterated 
— to be recovered either quickly, or only gradually, or 



VAGARIES OF MEMORY. 449 

perhaps not at all; instances are known in which all 
the knowledge acquired previously was entirely effaced, 
the faculty of gaining and retaining new information 
not being impaired. Sometimes a language is com- 
pletely erased from the recollection, the memory of 
other languages not being affected. One person may 
lose his memory of words, and another of things, al 
though the former is more common; and in this con- 
nection the curious fact may be stated that when the 
memory of words is gradually lost, the retrogression is 
invariably in the following order in the principal parts 
of speech: First, proper nouns; next, adjectives; then 
verbs; and last, common nouns. 

A remarkable instance of total loss of memory is 
the following: At Brighton, England, some years ago, 
a woman whose appearance betokened education and 
refinement, was sitting on the sea shore one day, ap- 
parently taking enjoyment in viewing her charming 
surroundings, when, without the slightest warning, she 
felt a shock in her head — no doubt caused by the burst- 
ing of some blood-vessel. From that moment her mem- 
ory was a complete blank ; she could not recollect any- 
thing whatever of her past life — not even her name nor 
that of any of her friends, and there were no letters or 
other evidence about her by which she could be identi- 
fied. Every possible attempt was made to discover 
some clue to her identity, but in vain; she was placed 
in the workhouse, and a great portion of her time was 
spent in bemoaning the loss of her memory, not a spark 
of which has since returned to her. 



450 THE ART OF MEMORY. 

In 1895 a young man named William E. Higgins, 
living in Sanduskj^, Ohio, left his home to seek employ- 
ment, which he soon secured with an electric company 
in Elyria, only a few miles distant. He had remained 
there but sl short time when all at once he disappeared, 
and for months his family could not find the slightest 
clue to his whereabouts, although hundreds of dollai^s 
were expended in the search. Finally his father traced 
him to St. Louis, where he was in the employment of a 
prominent electric company. The son utterly failed to 
recognize his father, did not remember his mother nor 
any of his brothers or sisters, and did not even know 
his own name. To him life began in a hospital at 
Elyria in the preceding December — he could remember 
nothing which had happened before, not even that he 
had ever gazed upon a human face- — ^the whole world 
w^as an unlearned book. Higgins' father prevailed on 
his son to return with him to Sandusky, hoping that the 
sight of faces and scenes that he had known since child- 
hood, and the sound of once familiar voices, would help 
to restore his lost memory — but to no effect; to him all 
were strangers. He remained at home several weeks, 
struggling to recollect something that would serve as 
a nucleus for gathering together the threads of his 
memory, but he was finally compelled to give up the 
attempt in despair, and returned to his work at St. 
Louis. 

An Eno'lish gentleman fell from his horse and re- 
ceived a severe contusion on the head. He recovered 
from the injury in a short time, but his memory was a 



VAGARIES OF MEMORY. 451 

complete blank and lie was compelled to bej;in a second 
education — even to the extent of learning the alphabet 
over again! 

Dr. Shields, a noted physician of ^lelbourne, Aus- 
tralia, tells the following lemai'kable ex])erience: 

One day in 1893 a man about thirty j^ears of age 
called on him in his office in the police barracks, re- 
questing to be informed who he was, saying that his 
memory had failed him. At first the man was believed 
to be crazy, but it soon became evident that his state- 
ment was true, and that he couhl recollect nothing 
whatever of his past life. Strangely, his memory was 
eventually restored through the power of music. Some 
months afterward he was noticed listening intently to 
the singing of the Sunday jail service, and he remarked 
that it seemed as if he had heard those sounds before. 
When told that what he had listened to was music lie 
did not seem to undc^rstand, but after the service Dr. 
Shields took him to the organ and showed him how the 
sounds were produced, by striking the keys with his 
fingers. The man thereupon seated himself at the in- 
strument, touched several notes at random and tluMi 
happened to strike a chord in harmony. Instantly his 
face brightened up and he began to play a selection 
from the "Creation," performing it with surprising cor- 
rectness; he used the pedals and stops, evincing famil- 
iarity with the instrument, and from this beginning he 
gradually recovered his memory. 

In Beck's "Medical Jurisprudence" is related a jia- 
thetic story of a young clergyman who was about to 



452 THE ART OF MEMORY. 

be maiTied, but was accidentally shot in the head bj a 
friend two days before the happy event was to take 
place. He was prostrated for a long time, but ulti- 
mately recovered from the injury, when it appeared 
that he could recollect nothing but the idea of the 
supposed approaching marriage. He was completely 
absorbed in that one thought and could never talk on 
any other subject. His wedding was always two days 
ahead. He lived until he reached his eightieth year, 
with that one idea dominating his whole life. 

A similar story is told in Nevins' "Disorders of the 
Brain." A young lady who lived in a rural district of 
England about a mile from the stage-road, went one 
day to meet her affianced, who was to pay her a visit. 
The coach duly arrived, but instead of her intended 
husband a friend alighted, who conveyed the sad news 
that her lover had suddenly died only a day or two 
before. She was completely prostrated by the shock, 
and on recovering it was found that she had lost all 
consciousness of her calamity. She lived to be an old 
woman, and scarcely a day passed during the rest of 
her life that she did not visit the spot which had been 
the scene of her misfortune, in the expectation of see- 
ing her lover alight from the coach. This idea had 
supplanted all else in her mind. A more pathetic illus- 
tration of lost memory can hardly be conceived. 

A curious case of the lapse of memory is that of Lin- 
naeus, the great naturalist, who in his old age listened 
with delight to the reading of his own works without 
recognizing their authorship. 



VAGARIES OF MEMORY. 453 

It is a well established bit of history that Sir Wal- 
ter Scott dictated the "Bride of Laraniermoor'' from a 
sick bed; it was published before he recovered from his 
illness, and when the book was placed in his hands for 
perusal he did not remember a single scene or character 
that he had created; he could recollect only the general 
nature of the plot, which he had outlined in his mind 
before his illness. 

The following are instances of a partial lapse of 
memory : 

In August, 1894, a young man named Herbert Spen- 
cer, a medical student at Lawrence, Kansas, suddenly 
disappeared and was not heard from for two years, 
when he was seen and recognized by an old schoolmate, 
in the Philadelphia city hosx>itaL The time that had 
elapsed was a complete blank to him; he remembered 
nothing which had happened during that period, and 
failed to recognize anybody that he had ever known, 
although he had not forgotten his knowledge of lan- 
guage nor what he had learned at school. lie remem- 
bered only one member of his family, a younger brother. 
The scenes and associations of former years had van- 
ished completely from his memory; life to him seemed 
to have just begun. He was able to resume his studies 
where he had left off two years before, but could recol- 
lect none of his teachers or classmates nor any of his 
surroundings. 

A writer in the "Popular Science Monthly'^ tells of 
a business man with whom he was well acquainted, 
w^ho suddenly lost a part of his power to read and make 



454 THE ART OF MEMORY. 

mathematical calculations. He had forgotten the let- 
ters d, g, q, X, and j, but remembered all the others. 
He had to spell out words like a child, and was unable 
to read words containing three letters without consid- 
erable hesitation. He could not add together two 
numbers of which 6, 7, or 8 formed a part — ^those figures 
had ftone entirely out of his memory. He was able to 
understand and talk, his mind was clear and his gen- 
eral memory good, but the letters and figures aboye 
mentioned had yanished from his recollection as com- 
pletely as dew from before the sun. 

Sir Henry Holland tells of once descending on the 
same day two deep mines in the Hartz mountains. 
While in the second mine, oyercome with fatigue, he 
suddenly became unable to converse in German with 
his gTiide, although familiar with the language; eyery 
German word and phrase had deserted his memory, and 
it was several hours before he recovered them suffi 
ciently to talk. 

The poet Beattie tells of a gentleman who on recov- 
ering from a fall, found that he could recollect nothing 
that had happened during the preceding four years, 
and was obliged to have recourse to the public journals 
for information thereof. 

Another gentleman received a blow on the head and 
at once lost his memory of Greek, of which he had been 
a master, although his native language he remembered 
perfectly. 

Many instances are recorded of persons while de- 
lirious repeating words and phrases which they had 



VAGARIES OF MEMORY. 455 

long since forgotten, and even of speaking in a tongue 
which had long ago faded from their memory — the lan- 
guage of early childhood. 

A doctor tells of being called in to see an old man 
on his death-bed, who was muttering words which the 
nurse did not understand, but which the doctor recog- 
nized as part of a Koman litany and so informed the 
nurse, saying that the man must be a Roman Catholic. 
^^That is impossible," replied the nurse: "as I have 
known him for more than thirty years, and know that 
he has been a free-thinker during all of that time at 
least." On investigation it was found that during the 
first five years of his life the patient had been trained 
in the Catholic faith, but soon afterwards became sur- 
rounded by adverse influences which had continiied 
during the remainder of his life. 

Coleridge tells of an illiterate woman who was seized 
with a fever, and during her delirium uttered passages 
in Latin, Greek, and Hebrew. This excited much won- 
der at the time, but on tracing back the woman's his- 
tory it was ascertained that when nine years old she 
had been adopted by a clergyman who was in the habit 
of reading aloud to himself from the classics, repeating 
over and over passages which impressed him. His 
books were found and examined, and in them were the 
identical passages repeated by the sick woman. 

Goethe was acquainted with an old man who in his 
last sickness began to repeat in his delirium beautiful 
sentences from the Greek classics, which he had been 
required to commit to memory when a boy, since which 



456 THE ART OF MEMORY. 

time (a period of over fifty years) they had never passed 
his lips; they were implanted in his memory all the 
time, but would ever have remained dormant except 
for some unaccountable cerebral action that again gave 
them expression. 

A case is related by Sir Astley Cooper of a soldier 
who w^as wounded in the head and remained in a state 
of semi-consciousness until, through a surgical opera- 
tion by the hospital surgeon, his power of speech was 
restored. When he spoke, however, it was in a lan- 
guage that no one about him could comprehend. After 
a time a Welsh woman came to the hospital, and on 
hearing the soldier speak, at once recognized the lan- 
guage as that of her native country. The man had not 
been in Wales for thirty years, and not having con- 
versed in the tongue at all during that period, had well 
nigh forgotten it, yet now he spoke it not only intelli- 
gibly, but fluently, and could recollect no other. More 
curious still, when the soldier recovered from his wound 
his English came back to him and Welsh w^as again for- 
gotten! 

Some years ago Dr. Scandella, an Italian physician 
of New York City, while on a trip in the South was 
seized bv vellow fever and was delirious durino- the 
whole course of the malady. In the first stage of the 
disease he spoke only English; when the fever was at 
its height, only French; and only Italian just before 
his death. 

A remarkable case was that of Franz Schonzen- 
wurtz, a merchant of Worms, Germany. In 1896 he 



VAGARIES OF MEMORY. 457 

went to Antwerp on a business trip, expecting to return 
in three days. While there he was seized with the 
first symptoms of a mental malady, imagining that he 
could hear voices, which kept continually telling him 
to move on. In obedience to these imaginary voices he 
embarked for England on the first steamer. H.is mal- 
ady kept increasing, and on his arrival in England the 
voices told him to go on to America. He did so, and 
by the time of his arrival in New York he had forgotten 
his name and all his past life, the only thing he re- 
membered being the fact of leaving Antwerp. From 
New York he went to Philadelphia and was admitted 
to Blockley Almshouse, where he was put in the insane 
department. On the next day he suddenly got out of 
bed, rushed to a window and sprang out, falling about 
twenty-five feet and meeting with severe injuries. For 
two weeks he hovered between life and death, all the 
while out of his mind, and often muttering unintelligi- 
ble sentences. When the crisis had passed he opened 
his eyes, intelligence began to return to him, and in a 
short time he was able to recall not only his past life, 
but all that had elapsed since his leaving home several 
months before. 

Among the most curious mental phenomena is dual 
personality — two distinct and alternating states of con- 
sciousness in the same person. 

In a hospital at Paris some years ago was a patient 
who lived a model life while in one state of conscious- 
ness, but every now and then would pass into another 
state in which he was vicious, violent, and addicted to 



458 THE ART OF MEMORY. 

profanity. Those wjiom he knew in either state were 
strangers to him in the other; in either one of his char- 
acters he could recall nothing of what he had said or 
done in the other, but did remember what had happened 
when he was previously in the same state of conscious- 
ness. 

Another case is recorded of a man living in Brooklyn 
who was arrested some years ago for bigamy. He had 
been married for several years and seemed devoted to 
his wife and children, but every now and then would 
disappear and remain away for weeks, and when he 
returned insisted that he knew nothing of where he had 
been or what he had done. Finally it was ascertained 
that he had married another woman, whom he would 
at intervals leave as unceremoniously as he did the first 
wife. When he was confronted by the second woman 
he had no recollection of her. On discovering the truth 
he was appalled, and learned for the first time that he 
was an epileptic. 

Somnambulists possess double consciousness, the 
chief points in which their oases differ from the ones 
just mentioned being that their secondary state of con- 
sciousness is usually during the night, the normal state 
being resumed in the day-time, the intervals thus being 
short instead of reaching into days and weeks. A phy- 
sician of Aberdeen relates a remarkable case of a young 
lady who, while in this state, was able to converse in- 
telligently with those around her, asking and answer- 
ing such questions as would naturally arise in the 
course of conversation. On awakening she remem- 



VAGARIES OF MEiMORY. 459 

bered nothing of what had happened, but on falling 
into the somnambulic state again she could repeat 
everything which had been said when she was in that 
state before. On one occasion she repeated the whole 
Episcopal baptismal service. At anothcT time, while 
in a state of somnambulism, she was taken to early 
church, where she seemed to join in the service with 
deep devotion. When the spell was over she had not 
the faintest recollection of what had happened, but in 
a similar state the next time gave a faithful account 
of what had taken place on the former occasion. She 
possessed two distinct memories, one for each state of 
consciousness. 

A peculiar case of double consciousness is that of 
Blind Tom, the negro pianist prodigy; and not the least 
remarkable feature of it is that he was frequently in 
two states of consciousness at one and the same time. 
While executing some musical composition lie would re- 
peat expressions that he had heard during the day, 
which indicates that one portion of his brain worked 
independently of the other part at the same time. 

As a concluding illustration of double consciousness 
may be told the story of the man who mislaid a package 
while drunk, forgot where he had put it when he be- 
came sober, and had to ^et drunk again to find it! 

But of all the vagaries of memory the most uni- 
versal is "Absent-mindedness." Almost every person 
of strong mental powers is more or less subject to the 
habit, and indeed it may be said that there are few who 
are not now and then under its spell, from the savant 

33 



460 THE ART OF MEMORY. 

who went to boil an egg for breakfast and put his 
watch into the boiling water, holding the egg in his 
hand to note the time of boiling — to the Irishman who 
was hunting in every imaginable place but the right 
one for his pipe, which all the time was in his mouth! 

A conspicuous case of absent-mindedness is that of 
Sir Isaac Newton. It is related that his friend Dr. 
Stukely once called to see, him, and on the name being 
announced Newton sent word to his friend to be seated 
and he would join him shortly. The Doctor sat in the 
dining-room for some time, when it became evident 
that Newton had grown so absorbed in his studies as 
to forget entirely about his friend's visit. Dinner was 
served, which the Doctor proceeded to demolish. Fi- 
nally Sir Isaac entered the room and seeing the rem- 
nants of the meal, apologized and said: "Believe me, 
my dear friend, I quite forgot that I had dined!" 

The following anecdote is told of Dr. Duncan, a dis- 
tinguished Scottish theologian. Having to preach one 
Sunday in a church near Aberdeen, he concluded to 
walk, as the church was only a few miles distant and 
the morning a fine one. He walked slowly and on the 
way his mind became absorbed by some theme that had 
entered his thoughts, and time and space were as 
nought to him. On arriving at the church and seeing 
people entering, he thought it would be a very proper 
thing to join in the worship also. Addressing one of 
the elders, he inquired who was to preach. "Why, Dr. 
Duncan, of Aberdeen.'' It was only then that he 
"came to himself!" 



VAGARIES OF MEMORY. 461 

It is told of the late Dr. Spring., of New York, that 
one of his parishioners saw him standing in front of 
the Post-office, staring vacantly about him. "Good 
morning, Dr. Spring," the parishioner said : "I am glad 
to see you.'' The Doctor replied, "Ah! thank you for 
telling me who I am: I expect a letter in the post-office, 
but was unable to get it because I couldn't recollect 
my name!" 

It is told that Joseph Jefferson was one day intro- 
duced to General Grant, an event which would nat- 
urally have impressed him very strongly. A few hours 
later he got into the elevator of the hotel at which they 
were both stopping. A short, heavy-set man also en- 
tered, bowed to Jefferson and made some off-hand re- 
mark. "I beg your pardon," said the actor: "your face 
is familiar, but I can't recall your name." "Grant," 
said the stranger, laconically. In telling the story, 
Jefferson said: "I got off at the next floor, for fear I 
should ask him if he had ever been in the war!" 

Jefferson also tells the following story on himself: 
He once went to a post-office in a small town where he 
was unknown, and asked if there was any mail for him. 
"What name, sir," asked the clerk. "My name? Oh! 
yes, of course: Why, I play ^Kip Van Winkle,' you 
know!" "Joe Jefferson!" said the astonished clerk. 
"Yes, Jefferson; many thanks," the actor answered as 
he received his mail and bowed himself out. 

A young lady met an old acquaintance whose name 
for some unaccountable reason she could not recollect. 



462 THE ART OF MEMORY. 

and after conversing a few moments said, "By the way, 
how do you spell your name? I am in doubt whether 
I have gotten it just right in my mind." "S-m-i-t-h," 
was the reply, to the lady's confusion! 

The distinguished French author La Fontaine called 
one day to see a friend whose funeral he had attended 
only a short time before. On being informed that his 
friend was dead and buried he evinced much surprise, 
but soon recovering himself said, "It is indeed true, 
for I was at the funeral!" 

Lessing was subject to extraordinary spells of ab- 
sent-mindedness. One evening after having been out 
unusually late he returned and knocked at his own 
door for admission. His servant looked out of the win- 
dow, and not recognizing him informed him that the 
professor was not at home. "Very well," said Lessing, 
"I will call another time," and thereupon left his own 
door! 

Dr. Thomas, Bishop of Salisbury, was so subject to 
fits of abstraction that he entirely forgot the day on 
which he was to be married, and was very much sur- 
prised on his servant bringing him a new dress suit. 
"What is this for?" he asked. "Why, it is your wed- 
ding suit, my lord." "Oh! this is the day, is it? I had 
forgotten all about it!" 

On another occasion a gnat stung him on the leg, 
whereupon he stooped down and scratched the leg of 
another gentleman instead of his own! 

Perhaps one of the most ludicrous instances of ab- 



VAGARIES OF MEMORY. 463 

sent-mindedness on record is that told at the expense 
of a distinguished western lawyer and United States 
Senator who was on his way to court in a great hurry, 
and chancing to overtake a friend, remarked, "I dressed 
in such haste this morning that I forgot my watch." 
A few moments later, he continued: "I wonder if I 
have time to go back and get it?'' — and as he spoke he 
pulled his watch out of his pocket. ^^No, I haven't 
time," he concluded, after consulting the time-piece, 
and walked on. Upon arriving at the Court-house he 
hired a messenger to go after the watch, paying him 
a dollar for the service. In due time the messenger 
returned with the information that the time-piece could 
not be found, whereupon the lawyer exclaimed, looking 
up from his books and papers: "That is very strange! 
I wonder what can have become of it?" Then he took 
a quick glance at his watch and continued: "Well, it 
makes no difference anyhow, I can get along without 
it; the judge is late and there is plenty of time." And 
he put his hand into his pocket and handed the mes- 
senger another dollar! 

As a concluding illustration may be told the story 
of the absent-minded college professor who was trudg- 
ing along one dark night in deep abstraction, when he 
collided with a cow. Taking his hat off he bowed con- 
fusedly and said, "I beg your pardon, madam." Re- 
suming his w^alk he shortly afterwards stumbled 
against one of the lady teachers, nearly knocking her 
over. Remembering his former experience he shouted 
angrily, "Is that you again, you brute!" 



464 THE ART OF MEMORY. 

These illustrations of absent-mindedness are but a 
counterpart in some degree of the* experiences com- 
monly occurring in eYery-day life — and especially those 
which frequently befall persons of strong mental con- 
stitution. 

The mind being profoundly occupied in some sub- 
ject of contemplation, and finding itself suddenly con- 
fronted by conditions not in harmony with the subject 
of thought, becomes confused and unable to promptly 
adapt itself to the changed situation; until a sufficient 
time has elapsed for such adjustment the brain remains 
more or less oblivious to present surroundings, with 
the result that embarrassing and often ludicrous pre- 
dicaments are produced. 

There are people who scarcely ever walk along the 
street that they are not so deeply engrossed in some 
subject or other as to be oblivious to all or nearly all 
that is going on about them; their surroundings are 
scarcely impressed on their minds; they pass acquaint- 
ances without recognizing them, their eyes all the 
while fixed straight ahead, and yet not seeing anything 
— in short, they haven't their wits about them, and they 
keep on and on in the same way, year in and year out, 
until what at first was perhaps a chance fit of mental 
abstraction has grown at last into a fixed habit; and 
all this time what thev mav have rained in one way 
has been far more than offset in other respects. 

As a general proposition it may be said that all 
vagaries of the memory, excepting what may be termed 



VAGARIES OF MEMORY. 465 



a 



absent-mindedness/^ are caused by disease or by some 
shock to the nervous system. Just how and why the 
brain works as it does in such cases may be considered 
as among unsolvable problems; it often happens that 
no remedy is possible ; nature may work out a cure and 
may not; to do so it must bring about a return of nor- 
mal conditions, for upon a continuance of those condi- 
tions must depend an unimpaired memory. 

Absent-mindedness not being a disease, but a habit, 
can to a great extent be overcome by self-discipline. 
However engrossing a subject may be, yet it can usu- 
ally be dispelled by a proper effort of the will. And 
if not at first, it can be after suflflcient practice. 

That the energies of the mind may not be dissipated 
the mind should not be allowed to busy itself with more 
than one thing at a time, and should occupy itself with 
each thing only at the proper time. When a subject 
shall have been reflected upon for as long a time as 
there is desire or opportunity, it should be banished 
by an effort of the will, that the mind may be left free 
to contemplate whatever may be presented to it after- 
wards. Thus may be obviated many an awkward sit- 
uation which the absent-minded person is apt to en- 
counter. Let the mind be first divested of that with 
which it is occupied — then it is in proper condition to 
receive new ideas. 

In striking contrast with absent-mindedness, which 
vagary of the memory is of such universal distribution 
and often causes the most embarrassing situations, is 



466 THE ART OF MEMORY. 

that something' which influences — yea, compels — our 
memory to keep something that we w^ould far rather 
get rid of! and the more vigorously we struggle to 
banish it, the more obstinately does it refuse to depart! 
La Bruyere has said most truly : "To endeavor to for- 
get any one is the certain wa^^ to think of nothing else!'* 

It is indeed a curious fact that while the power to 
revive in our consciousness experiences and impres- 
sions of the past is partially under control of the will, 
jet the ability to eradicate them from the memory we 
do not possess. There are experiences in our lives 
which we would gladly blot out forever from remem- 
brance, but the more we strive to do this, the more they 
will insist on keeping in the very foreground of mem- 
ory, in spite of the fact that one of the fortunate mis- 
sions of Time is to mitigate the memories of life's un- 
happy experiences, gradually softening their asperi- 
ties and engirding them with an ever-growling glamour 
of sentimental disguise, until, transmuted by the magic 
alchemy of Time, that which once caused only disap- 
pointment and distress becomes attired in the garb of 
romantic association, embellished by the glowing hues 
of Fancy; in the place of former vexations and regrets 
there being ineffable serenity, and even delightful con- 
templation. 

But time is not always so generous with its bene- 
factions; there are sometimes wounds that will not 
heal; sorrows whose shadows seem to never grow less; 
sombre memories over which the soothing touch of 



VAGARIES OF MEMORY 467 

Time seems to exert but little influence. Then there 
are trivialities of life — events of no real significance — 
idle fancies — "stale, flat and unprofitable'' conceits 
merged into expression, that deserve not even the most 
obscure corner in memory's repository; how many of 
them do somehow manage to find an asylum in our 
remembrance! Like Banquo's ghost, they will not 
"down;" like Sinbad's "Old Man of the Sea," we cannot 
shake them off! Fate seems to have ordained that we 
must tolerate them, so there is apparently no alterna- 
tive but to be philosophical and accept the inevitable; 
as it is in the order of nature that weeds must grow in 
every garden, so too does nature seem to insist that 
weeds must spring up in the garden of Memory. Like 
certain insects they may become full-grown all at once, 
but like the tortoise they are only too likely to be as 
long-lived as we ourselves, and we should therefore 
take no especial pains to cultivate them — in the hope 
that by the kindness of fate more or less of them may 
soon go into a hopeless decline! 

Priceless though the art of recollecting may be, 
yet that of forgetting is by no means of slight insig- 
nificance. The poet Landon has well said: 

"Were it not better to forget, 
Than but remember and regret?" 

And Ninon de L'Enclos, the great French society leader 
of the seventeenth century, once said: "Memory is 
ever active, ever true; alas! if it were only easy to for- 
get!" Whether the famous Frenchwoman ever discov- 



468 THE ART OF MEMORY. 

ered the secret or not, history has failed to record — 
but it is highly improbable that her desire was attained; 
for had it been, how could she, in the exuberance of 
her joT, have negle<^ted to leave the prescription to 
posterity! 

The truth is that the art of forgetting does not re- 
quire a Tolume for its elucidation — which is simplicity 
itself; just like the Scriptural injunction to "Love 
your enemies'' — the real problem is, how to practice 
it! There is only one way to free ourselves from pain- 
ful memories, and that is, on their appearance to force 
ourselves to contemplate other subjects, no matter 
what, so that they are worthy and not depressing; to 
say more than this is unnecessary, except that the fa- 
cility to banish unhappy memories may be greatly in- 
creased through practice, even though such memories 
may not be totally destroyed. 

And what shall we say of that w^hich, for want of 
a better name, has been termed "Pseudo- '-memory? 
It is a memory that is wholly instinctive in its char- 
acter — a caprice of nature for which there seems to be 
no way of accounting except on the theory of heredity. 
Of this kind of memory many remarkable cases are re- 
lated, among which are the following: 

A young man' born in India, who was visiting 
England for the first time, accepted an invitation to 
spend a few days at the house of a relative in London. 
He had scarcely entered the door when it seemed to 
him that the place had a familiar aspect, although he 



VAGARIES OF MEMORY. 469 

could not at first trace the association to any definite 
source, and could not identify any particular object 
about the premises that he had seen before. As the 
moments passed on this sense of familiarity with his 
surroundings kept grov/ing within him, until he ex- 
claimed: "The impression forces itself upon me that 
I have been in this house before, and yet I know that 
to be impossible, as I have never been in England 
until now — much less this particular house in London; 
and yet this impression is so strong that I am bewil- 
dered. But a sudden thought strikes me! If this 
house be the one which seems so familiar to me, there 
is a name cut with a diamond in one of the lower panes 
of the right-hand window in the front part of the at- 
tic." The parties at once proceeded to the room men- 
tioned, and in the very place indicated was a name so 
scrawled on one of the window-panes! On investiga- 
tion it was learned that one of the young man's an- 
cestors, long since deceased, had cut with a diamond 
in that very window the name of his sweetheart! 

Another case is that of a noted artist, who tells 
that once, as by inspiration, he drew a picture of a 
young lady's face whose lineaments seemed perfectly 
familiar to him. Years afterwards, while on a visit 
for the first time to a relative who lived in the country, 
he discovered the identical face among the portraits 
of his ancestors. He was so struck with the coinci- 
dence that he made inquiries regarding the identity of 
the person, and learned that his grandfather had once 



470 THE ART OF MEMORY. 

been engaged to the lady, but through the strenuous 
opposition of relatives had been obliged to give her up. 

Here is another remarkable case. Some years ago 
a gentleman who was a native of one of the New Eng- 
land States, took a trip to England, and while there 
paid a visit to the place where his ancestors had lived 
for several generations. Some of the features in the 
locality seemed strangely familiar to him, among them 
being the old family mansion and the village church, 
as well as certain details of the landscape. One day 
while wandering through the churchyard, a name on 
one of the tombstones especially attracted his notice, 
as it seemed as if he had seen it before. On making 
inquiry he learned that the young lady who was buried 
there had been a fiance of his oTeat-grandfather, who 
used to make frequent visits to his loved one's tomb. 

Members of the faculty in the Medical College 
where the eminent surgeon Dr. Butcher of Dublin, 
studied, say that when he first began to experiment 
with the dissecting-knife, he appeared to handle it and 
to go about his work as if by instinct, in the same pe- 
culiar manner as one of his ancestors. 

How, indeed, can we account for such cases as the 
above except on the theory of hereditary memory? 
Wordsworth has finely said: 

"Our birth is but a sleep and a forgetting; 
The soul that rises with us, our life's star, . 
Hath had elsewhere its setting 
And cometh from afar." 



VAGARIES OF MEMORY. 471 

Is it not in ^consonance with strict reasoning that 
such a thing as hereditary memory is possible? May 
not the memory of something that powerfully affects 
us be transmitted to a descendant? What is instinct 
in the animal kingdom but hereditary memory in a 
restricted sense? In the human being it is the mem- 
ory of a specific event or impression, and in the animal 
of a characteristic or an acquirement. That the latter 
may be transmitted to offspring has been abundantly 
demonstrated, especially in the case of dogs. Darwin 
gives an instance of some dogs that were taken to Cen- 
tral America and trained to hunt deer in a particular 
way. Afterwards when their progeny were taken out 
for the same purpose, they at once adopted the newl}'- 
acquired methods of their parents without the slightest 
training. 

When a person who has "declined into the vale of 
years" takes now and then a retrospect of the past, it 
is curious to note how much of his life he remembers 
little or nothing about — he finds that it really consists 
of many series of recollections separated by a corre- 
sponding number of intervals, many of them extend- 
ing over a long period and leaving scarce an imprint 
on his memory; in fact, he finds the greater part of his 
life to be a comparative blank; there are only the land- 
marks, scattered along here and there, and most of 
them keep growing less and less distinct as time speeds 
on; but ever and anon, as by strange fortuity, there 
will be touched by an unseen hand some secret spring 



472 th'e art of memory. 

of Memory's treasure-house, and, as the oasis amid the 
desert sands burst forth in all its beauty on the long- 
ing vision of the weary traveler, to cheer and to in- 
vigorate his spirits, so too, bright images of scenes 
long past, and tender thoughts, and glowing fancies, 
that have long lain dormant, awaiting but the proper 
summons, will leap forth from the dim recesses of the 
recollection as by magic, imbued with all their former 
loveliness and freshness, each one, forsooth, ordained 
to add one more bright beauty spot to the enchanting 
landscape of Memory. 



INDEX. 



A 

Abseut-mindedness, instances of, . . . . . . 459-46S 

how to overcome, . 465 

Almansor, linguistic powers of, 28 

Alpha Crucis, location of, 157 

Anecdotes, often useful, 318 

bow usually recollected, . . . . . . • 318, 319 

may be indefinitely retained in memory, . . • ' . 319 

best way to memorize, . 320, 321 

Angelo, anecdote of, 169 

Aristotle, great memory of for proper names, . . . 387 

Association next to Attention in memoiy development, . 109 

anecdote regarding power of, Ill 

Incidental Association, definition of, and illustrations, 113-115 

(Natural Association, definition of, and illustrations, . 116-122 

Artificial Association, definition of, and illustrations, . 125-130 

Associations should be in pairs, 132 

Attention the foundation of Memory, 98 

lack of, mainly cause of defective memory, . . . 104 

' cultivated, merges into Concentration, . . , . 101 

becomes habit, 104 

may be secured by Will, . 106 

illustrations of, 101 

Avicenna, wonderful verbal memory of, . , . . 37 

Azimuths of sun at sunset, . . . . . . . 160 

B 

Baratiere, precocity of, ....... . 47 

Bassie, memory feats of, . . . . . . i 181 

(473) 



474 INDEX. 

Beethoven, great musical memory of, 414 

Bidder, mathematical feats of, 184 

Biography, best memorized through mental images, . . 301 

Blaine, wonderful memory of for proper names, . . 387 

great feat of in verbal memorizing 356 

Blank Verse, how to memorize, 379, 380 

Blind Tom, wonderful musical memory of, . . . .28 

Bolingbroke, great memory of, 41 

Book, instructive, how to memorize, 305 

Books, what kind to read, 309 

Bossuet, wonderful verbal memory of, .... 41 

Brahe, wonderful memoy of for figures 181 

Brodie, Steve, sensations of while jumping from Brooklyn 

Bridge, . 24 

Buffon, great verbal memory of, 39 

Bulwer, remarkable verbal memory of, 38 

Burritt, linguistic powers of, 40 

Buxton, mathematical feats of, 184 

Byron, great verbal memory cf, 39 



'Ca:isar, great memory of, 35 

Carlisle, John G., wonderful memory feat of, . . . 357 

Carolan, feat of in musical-memory, 414 

Charlemagne, linguistic powers of, 37 

Cineas, memory feat of, 387 

Clarke, Adam, great verbal memory of 352 

•Clarkson, how he became interested in abolition of slavery, 2D0 

Clay, anecdote of, 173 

remarkable memory of for proper names, . . . 387 

Cleopatra, linguistic powei*s of, 35 

Col burn, mathematical feats of, 185-187 

•Coleridge, Rev. E., strong verbal memory of, . . . 353 

•Color, Memorj'^ of, how to cultivate, 170 

Colors which' harmonize, 178 

•Consciousness— double, 457-459 



INDEX. 475 

Contiguity, Association by, 124 

Contrariety, Association by, with illustrations, . . . 122-124 

"Correlation" theory impracticable, ..... 95 

"Correlations," how used, 92 

Crassus, linguistic powers of, 35 

"Cross, Southern," 15(J 

Custer, anecdote of, 14G 

Cuvier, great memory of, 40 

D 

Dase, wonderful memory of for figures, .... 182 

Dates in history easily desert the memory, .... 201. 

Diction, Memory of, what it is, 349 

memory of possessed by ancients, . . . . . 352 

inherent in some persons, 351 

can be cultivated to a remarkable degree. . . . 351 

Discourse, how to listen to, 314 

Dorr, great memory of for figures, 183 

Downs, memorj'^-system of, . 77 

Drama, how to witness, 313 

E 

Edison, power of engrossment of 102 

Esdras, strong verbal memory of, 57 

Euler, remarkable memory of for figures, .... 181 

Events, three general classes of, 289 

how to classify, 297 

P 

Facts more difficult to recollect than Events, . . . 295 

best memorized through classification, . . . 296 

to be classified according to individual needs, . . . 299 

how to memorize, 298 

Features, Memory of, how to cultivate, 175 

Feinaigle, mnemonical system of, 70 

Fellows, Col., strong verbal memory of, .... 357 

34 



476 



INDEX. 



Fiction, instructive as well as entertaining, . . . 303 

best memorizecl tJirough mental images, . , . 301 

"Figure" alphabet, modern, 83 

impracticable for memorizing dates, .... 87 

basis of most mnemonical systems, . . . . 189 

Figures, as important in memory culture as words, . . 180 

best way to memorize, 190 

Fomalliaut, location of, 159 

Form, Memory of— definition of, 168 

good memory of necessary to great painter or sculptor, 169 

how to cultivate, 170 

Fuller, great memory of, 43, 352 



G 

Gabelentz, linguistic powers of, 

Gassendi, remarkable verbal memory of, ... . 

Genius prolonged attention, . 

Gibbon, great memory of, 

method pursued by in reading a book, .... 
Gottschalk, remarkable musical memory of, .... 

Gouraud, mnemonical sj^stem of, 

Gray, Dr. Asa, great memory of, 

Grey, "Figure" alphabet of, . . . _j 

H 

Heinecken, unexampled precocity of, 

Henrotin, remarkable feat of in memory of figures, . 
Ilerschel, remarkable memory of for figures, 
Hicks, W. C, remarkable familiarity of Avith Bible, 
Historical Events less enduring in memory than Personal 

or Impersonal, . . . . 

Hortensius, remarkable memory of, 

Houdin, wonderful eye-memory of, 

Howell, Evan S„ wonderful faculty of for recalling per- 

.sonal events, 

Hugo, extraordinary vocabulary of, 



43 

355 

103 

39 

304 

416 

72 

40 

69 



48 
183 
180 
358 

291 
35 
29 

292 
40 



INDEX. 477 

I 

Ideas, isolated, caunot remain in memory, .... 112 

"Impersonal" Events, definition of, 2S9 

"Incidental" Association, definition of, and illustrations, . 113-115 

Initials, how to memorize, 407 

J 

Jewell, Eisliop, strong verbal memory of, . . . . 852 

Johnson, Dr., illustration of his powers of verbal memory, 35-1 

Jones, Sir William, linguistic powers of, ... . 43 

Jonson, Ben., remarkable verbal memory of, ... . 38 

K 

Knowledge consists of what we can recollect, ... 17 

Kothe, mnemonical system of, 73 

L 

Lacepede, wonderful memory of, 44 

La Motte, powerful verbal memorj^ of, .... 41 

Landor, remarkable memory of, 39 

Lawson, Prof., great verbal memorj' of, .... 44 

Leonardo da Vinci, method of for identifying faces, . . 174 

Literature, entertaining, how to memorize, . . . 301 

instructive, how to memorize, 305-7 

what kind to read, 309 

"Locality" Memory, definition of, 144 

may be developed to a remarkable degree, . . . 147 

how to cultivate, 154, 1(35 

universal in animal kingdom, ..... 144 

Loisette, mnemonical system, of, 75 

M 

McCartney, Daniel, remarkable faculty of for recollecting 

personal events, 291 

Macaulay, strong verbal memory of , . . . . . 353 

Magliabechi, great memory of, 40 

Magnetic needle, variation of at various points, . . 153 



478 



INDEX. 



Magnetic poles, where situated, . . 
Mangiamele, remarkable memory of for figures, 
Memories, unpleasant, how to lessen, . . . 
Memory the basis of understanding, 

essential to intellectual power, .... 

possessed by all living tibings, 

improved by exercise, 

possible because ideas suggest ideas, 

grasps what it has the greatest affinity for, 

greatest possessed by greatest men, 

only best and greatest thoughts deserve a place in, 

may acquire deleterious habits, 

defective, mainly due to lack of attention, 

general divisions of, . . . 

sometimes treacherous, 

instances of partial lapse of, . . 

instances of loss of. 

curious recovery of, 

"Pseudo," instances of, 

*'Memoi'y Corner" Thompson, feat performed by, 

Mendelssohn, feats of in musical memory,. 

Mezzofanti, linguistic powers of, 

Middleton, mnemonical system of, . 

Miles, mnemonical system of, .... 

Mill, John Stuart, great precocity of, . 

Milton, extraordiuary vocabulary of, . 

Mithi'idates, great verbal memory of, . . . * . 

Mnemonics, recognized as a necessity from earliest times, 

originated with Simonides, 

"Topical" system 

Molino, wonderful verbal memory of, 

Mozart, feats of in musical memory, . . . . . 

Miiller, linguistic powers of, 

Music, definition of, . . 

demands of upon memory often great, .... 

memory of largely intuitive, 



152 

182 

407 

16 

2t> 

19 

18 

112 

19 

32 

350 

107 

104 

142 

447 

453-457 

449-453 

25 

468-470 

163 

416 

27, 39 

74 

72 

47 

41 

35 

58 

62 

03 

355 

415 

40 

411 

413 

413 



INDEX. 



479 



Music, influence of on the emotions, 

aids memorizing of Poetry, .... 

what kind to select, . . . , » 

how to memorize, . . . . . . 

liow to listen to, 

necessity of reviewing one's acquirements in, 

Musical memory necessary to become great artist. 



430 

430 

. 427. 428 

420-427, 436, 437 

. 439-444 

438 

417 



N 

Names more difficult to recollect than faces, . . . . 383 
good memory for advantageous in business, social aiid 

literary life, ' . 385 

few persons liave good memory of, ... . 388 

origin of manj. 389 

how to memorize, 391, 401-106 

Napoleon, remarkable memory of for figures, . . . 180 

also for proper names, 387 

Narrative, best memorized through mental images, . 301 
"Natural" Association, definition of, and illustrations, . 116-122 

Newspaper reading, effect of on memory, . . . 309 

Niebuhr, precocity of, 41 

Numbers, best way to memorize, 190 

a 

Observation the key to good "Locality" memory, . . 148 



Palmer, Edward Henry, linguistic powers of, . . . 43 

Paris, Aime, mnemonical system of, .... . 71 

Pascal, great verbal memory of, 38 

Pericles, remarkable memory of, for proper names, . . 387 
"Personal" Events more enduring in memory than "Im- 
personal" or "Historical," 290 

Piano compositions, how to memorize, 420-427 

Pick, mnemonical system of, 73 

Poem, ability to readily dissect of assistance in memorising, 370 



480 INDEX. 



Poetry less difficult to memorize tlian Prose, . . . 358 

liO'W to memorize, 371-377, 379, 380 

Polaris, how to tied, 154 

Poles, magnetic, where situated, 152 

Porson, wonderful verbal memory of, . . . . . 45 

Poule, great verbal memory of, 39 

Prescott, extraordinary memory of, .... 44 

Prose more difficult to memorize than Poetry, . . . 358 

liow to memorize, 381 

"Pseudo"-memory. instances of, 4(38-470 

R 

Raleigh, anecdote of, 22 

Ravenna, mnemonical feats of, 65 

Rossi, wonderful verbal memory of, 45 

S 

Sambrook, mnemonical system of, 74 

Saunderson, great verbal memory of, . . . , . 39 

Scaliger, remarkable verbal memory of, ... . 38 

Schenkel, mnemoaiical feats of, 66 

Scott, great verbal memory of, . . . . . . 38 

"Selecting" memory, . . . . ^. . . . 311 

Seneca, strong verbal memory of, 36 

Shakespeare, unequaled vocabulary of, ... . 41 

Shedd, mnemonical system of, 76 

"Sight" impressions passive in their nature, . • . . 134 

most enduring of all, 135 

Simonides, originator of mnemonics, 62 

Socrates, wonderful power of engrossment, .... 102 

Song, influence of on the emotions, . . . . . 430 

Songs, interpretation of should be faithful, .... 433 

how to memorize, . . 436, 437 

"Sound" impressions passive in their nature, . . . 134 

next to "Sight" impressions in vividness, . . . 135 

Star, North, how to find, 154 



INDEX. 



481 



Stokes, mnemonical system of, 
Stradella, musical composer— anecdote of, 
Suarez, woDderful verbal memory of, 
Sunset Azimuths, 



73 
431 
35o 
160 



Taylor, Jeremy, great memory of, 

Thirlwall, Bishop, great precocity of, 

Thompson, "Memory Corner," feat performed by, 
"Thought" impressions either passive or active, 

least enduring of all, 

Tom (Blind), wonderful musical memory of, ... 
"Topical" system, mnemonics, 

not now feasible, 

"Twain, Mark," experience of in learning vocation of pilot, 

V 

"Verbal" memory, definition of, 

inherent in some persons, 

great power of possessed by ancients, .... 

can be cultivated to a remarkable degree, . 

"Verse, how to memorize, 

Vianesi, remarkable musical memory of, . 

Vidocq, anecdote of, 



W 

Wakefield, Gilbert, powerful verbal memory of, 

Wallis, wonderful memory of for figures, .... 

Watson, George, wonderful faculty of recalling personal 

events, 

Weed, Thurlow, plan adopted by for memorizing personal 

events, 

Wesley, memory of for proper names, .... 
Will, attention secured by, ...... 

Willis, mnemonical system of, 

Winckelmann, "figure" alphabet of, 

Woodfall, great verbal memory of, 

Wotton, precocity of, 



44 

47 

1G3 

134 

138 

28, 416 

63 

80 

20 

349 
351 
352 
351 
371-377 
416 
173 

353 

181 

291 

2<J3 

387 

106 

67 

68, 189 

27 

46 



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